Screenwriting, 1930-1940 Interlude - Hearing Versus Seeing
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Browsing Screenwriting, 1930-1940 Interlude - Hearing Versus Seeing by Subject "Bresson, Robert"
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Item Open Access 'In My Mind's Ear': Misconstruing Sounds as Sights – a Philosophical and Cinematical Caution(1999) Cameron, Evan Wm.The notion of 'imaging' music ought to perplex us philosophically, for 'to imagine' is a verb of visualisation. Hearing musical events may cause us to imagine things, and seeing things may cause us to think of hearing musical events, but to speak of visualising how we hear when hearing musically is to echo an innervating confusion. The primary space within which we encounter things is auditory/tactile rather than visual. To think accurately of music, and especially so when composing it, one must retrain oneself to think of it non-visually, avoiding the commonplace 'imaginings' of the formalisations of mathematical structures, for example, that so often reduce what we hear thereafter to mere exemplifications of them lacking any hope of musical fascination.Item Open Access Misusing Sights as Sounds: The Infringements of Radio Drama on the Making of CITIZEN KANE(1968) Cameron, Evan Wm.Many arts have influenced the cinema over extended periods of time. One art – radio drama – is an exception, for we can date the onset of its influence from the coming of synchronous sound to the cinema in 1926 and the culmination of it with the creation of CITIZEN KANE in 1941. Film and radio drama were thereafter to part company, each having learned what it could from the other. What had the cinema learned from radio drama? If we look closely at CITIZEN KANE, we can learn much about the virtues and limitations of radio design, cinematical design and the design of CITIZEN KANE itself.