ABSTRACT
This chapter explores any structural relations that might or might not be present between music and the visual verbal dialogic narratives of the film. It explores a purposeful aim towards a musico-cinematic equality is attempted, whereby music is elevated to an equal status in this so-called performance work. It proceeds to question the extent to which Philip Glass's music avoids an interaction with the characters of this film as in Michael Nyman's case, and the issue of whether the relationship between music and moving image is again based on co-existence rather than dependence will be raised. The chapter seeks to demonstrate this interaction by examining the role of Glass's music in specific scenes. The chapter addresses the interactivity between Glass's music and existential visual narratives in Naqoyqatsi and Watchmen, while the reading of Cohen's Book of Longing will offer a different take on this philosophical aspect from a poetic perspective.
