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By D. Kulezic-Wilson

The Musicality of Narrative movie is the 1st booklet to envision extensive the film/music analogy. utilizing comparative research, Kulezic-Wilson explores film's musical power, arguing that film's musicality may be accomplished via a number of cinematic units, without or with tune.

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Cohen also states that ‘what cognitive research reveals about higher-order structure in one domain of art will inform understanding of others’ (p. 228), which is exactly the reasoning that underpins the theoretical discussion in the following four chapters exploring analogies between temporal, rhythmical and kinetic features of film and music. The ethos of the musical approach to film is in a way also mirrored in the theoretical/analytical concept of mise-en-bande, which was presented Music as Model and Metaphor 23 by Altman, Jones and Tatroe (2000) as the acoustical equivalent to miseen-scène: Just as image analysis benefited from introduction of the comparative and relational notion of mise-en-scène, or ‘putting onto the stage’, so understanding of the soundtrack requires the concept of mise-en-bande, or ‘putting on the sound track’.

Music has been used as an inspiration for a film’s mood or location, for writing a screenplay and as a template for a film’s structure. It has been used during production for staging and shooting scenes, or in post-production for providing the rhythm of editing. The influence of music on the creation of certain films is so palpable that it is even possible to identify particular musical styles or genres in their genetic material. Since the early attempts of film Impressionists to emulate the rhythmic structure and immediacy of music forms, film history has seen a fair number of film rondos, sonatas, symphonies, themes with variations, interludes, preludes and fugues, although in most cases their musical allusions were limited to the title.

The art of the musical tones. They have overcome the outer world and the social world entirely, they unfold our inner life, our mental play, with its feelings and emotions, its memories and fancies, in a material which seems exempt from the laws of the world of substance and material, tones which are fluttering and fleeting like our own mental states. (2002, p. 127) The most influential among filmmakers interested in the musical aspects of film in its formative decades was Sergei Eisenstein, who continuously employed musical analogies to explain his innovative theoretical concepts and applied those ideas in both his silent and sound films.

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