The starting point: the propositions from 1910’s and 1920’s about visual rhythm or visual music. We try to avoid the supposed failure explained by Jean Mitry and to propose a new way with the hope that the score of Beethoven’s Moonlight Sonata can be literally applied to the verticality of celluloid. Since it is perhaps impossible that cinema can grasp what ephemeral instant music is, let us picture the madness and ecstasy of a row of musical notes trapped onto any format. We could add or classify this work within “lettrist cinema,” but in that case could we not be referring to “integrist cinema”? An integral score, leaving no room for clumsy performances. — Ana Isabel Aréjula, Mardrid, 2002
0.0/10The starting point: the propositions from 1910’s and 1920’s about visual rhythm or visual music. We try to avoid the supposed failure explained by Jean Mitry and to propose a new way with the hope that the score of Beethoven’s Moonlight Sonata can be literally applied to the verticality of celluloid. Since it is perhaps impossible that cinema can grasp what ephemeral instant music is, let us picture the madness and ecstasy of a row of musical notes trapped onto any format. We could add or classify this work within “lettrist cinema,” but in that case could we not be referring to “integrist cinema”? An integral score, leaving no room for clumsy performances. — Ana Isabel Aréjula, Mardrid, 2002
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