TY  - CONF
  - Kulezic-Wilson, D.
  - RMA Music and Film Conference
  - Rhythm of the Moving Pictures of Jim Jarmusch
  - University of Southampton
  - Oral Presentation
  - 2001
  - ()
  - 19-APR-01
  - 21-APR-01
  - While music was acquiring a more important role in film by infiltrating its morphological, dramaturgical and affective structure, it was at the same time giving up some basic determinants of an independent abstract art form. The formal disintegration of autonomous musical forms was probably the most obvious and at the same time the least painful consequence of its enlarged emotional strength and influence within the dramaturgical context of film.At the same time, the logic inherent to a musical way of thinking appears to be dominant in creating some of the very basic layers of audio-visual structure in certain movies, as can be seen in the examples of independent film production mentioned in this paper. 'Composing on Screen' thus refers to the tendency to develop visual and narrative rhythm, and even narrative structure, according to the logic of musical composition in order to gain music-like fluidity, immediacy and strong emotional appeal. In the movies of Jim Jarmusch this kind of audio-visual synthesis, which occurs not only on the functional but also the structural level, results in very powerful, unusual and moving examples of filmmaking. 
  - Arts Council of Ireland Travel Award
DA  - 2001/NaN
ER  - 

@unpublished{V60789635,
   = {Kulezic-Wilson,  D. },
   = {RMA Music and Film Conference},
   = {{Rhythm of the Moving Pictures of Jim Jarmusch}},
   = {University of Southampton},
   = {Oral Presentation},
   = {2001},
   = {()},
  month = {Apr},
   = {21-APR-01},
   = {{While music was acquiring a more important role in film by infiltrating its morphological, dramaturgical and affective structure, it was at the same time giving up some basic determinants of an independent abstract art form. The formal disintegration of autonomous musical forms was probably the most obvious and at the same time the least painful consequence of its enlarged emotional strength and influence within the dramaturgical context of film.At the same time, the logic inherent to a musical way of thinking appears to be dominant in creating some of the very basic layers of audio-visual structure in certain movies, as can be seen in the examples of independent film production mentioned in this paper. 'Composing on Screen' thus refers to the tendency to develop visual and narrative rhythm, and even narrative structure, according to the logic of musical composition in order to gain music-like fluidity, immediacy and strong emotional appeal. In the movies of Jim Jarmusch this kind of audio-visual synthesis, which occurs not only on the functional but also the structural level, results in very powerful, unusual and moving examples of filmmaking. }},
   = {Arts Council of Ireland Travel Award},
  source = {IRIS}
}