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If in conventional cinema it is said that the best music is the one that is not heard, since it serves as an accompaniment and illustration of the image (which dominates in our visual culture), my approach to the work of L'arrivée by Peter Tscherkassky was to confront two worlds (visual and sound) in full dialogue and equality. His experimental cinema open the meaning of the image far away of our stereotypic visual environment. For this, I tried with sound to transmit, without illustrating, the same processes of editing and recontextualization of the video, in a work that wants to see the sounds, in the same way that the images are heard.
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