ABSTRACT
Music offers the medium of film probably one of its most dangerous pitfalls, due to the “slow motion” effect which the sung word imposes on the development of the dramatic action. Remember that the time taken by the music to develop its forms exceeds greatly the time that the spoken word needs, so that one has to reduce and simplify the dramatic action of a libretto. Music in film has a necessarily subordinate role. It has to act on the subconscious of the listener – as a counterpoint to a flexible visual melody, which it can deepen quite immeasurably. Adding “noises” to music, on the other hand, opens doors to a distinctive cine-phonic genre: perspectives that might be a little puzzling, maybe, given the memory of Marinetti’s futurist noise-aesthetic. The machine, inanimate element at the start, once assimilated by the artist, becomes an organ of his sensitivity; the machine becomes the music.
