ABSTRACT
In 1930 Bla Balzs distinguished between Begleitmusik in film as a new form of programme music, and an organic fusion of pure music with film, in which music would not be an accompaniment to the images, but the images would appear as accompaniment to the music. In recent histories people read that screen music is an outside element not part of the story itself, its presence is often secondary to dialogue and sound effects. Ben Winters takes a more theoretically robust approach, and, calling on Daniel Frampton's filmind neologism, attempts to restore the Gorbmanesque category of non-diegetic screen music to the ontological fold of films narrative space, coining for such music the term intra-diegetic. Citing iek, Buhler perceives a sense of deep psychological disturbance in this: The soundtrack gives us the basic perspective, the map of the situation, while the images are reduced to isolated fragments that float freely in the universal medium of the sound aquarium.
