ABSTRACT
This chapter explores different ways of implementing the music-image within a film, thus taking its experience into the realm of ‘film-as-a-whole’. Music functions as image both when standing alone and/or when collaborating with other types of image. Imagine a film projecting just still frames over a time sequence; the longer the time-gap between the frames the more diverse will be the ‘packages’ of meaning attached by every viewer – meanings that might vary considerably between each interpreting individual. Cultural and personal influences of both past and present can create different musical experiences in different people and groups, to the extent that one person’s romantic music is another’s tragic song. Transitional music can then create in a viewer’s psyche an ‘added’ reality not explicitly described and/or experienced through the visual images.
