The Cinesthetic Montage of Music-Video
Hearing the Image and Seeing the Sound
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Watching, and listening to, for instance the openingsequence ofTerrence Malick's The New World, or any other moviethat takes thejoining of sound and image seriously, it strikes youhow the sound iscompletely integrated into the image, and the imageonto thesound. The montage of the images has seemingly beencomposedfrom the music, and in such tight relationship to itthat the twosensations are inseparable. What you are left with isan audiovisualflow moving as one unified poetic expression,generating an aural-visuality pointing towards the music video. Just likea music video,film's audiovisual flow...
Watching, and listening to, for instance the openingsequence ofTerrence Malick's The New World, or any other moviethat takes thejoining of sound and image seriously, it strikes youhow the sound iscompletely integrated into the image, and the imageonto thesound. The montage of the images has seemingly beencomposedfrom the music, and in such tight relationship to itthat the twosensations are inseparable. What you are left with isan audiovisualflow moving as one unified poetic expression,generating an aural-visuality pointing towards the music video. Just likea music video,film's audiovisual flow poetically captures the moodand the 'feel'of the experience by harmonically synchronizing theimage and themusic. Using Vivian Sobchack's theory of cinestheticsas aframework, this book explains how the music-videoproduces anaural visuality in which sound can be cinestheticallyexpressed andperceived as image and the image perceived andexpressed assound. The book is aimed filmmakers and cinematicexperimenters,music video makers, film editors and VJ's, andfilm academics.
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