The interesting thing about this film is that it has been re-scored by Nitin Sawhney, and so has already been remediated before it reaches an audience. I think that this in itself is an attempt to make the silent film’s score play a more significant part in the viewing experience – its modern yet ethnic twist has more relevance to a contemporary audience. Having it performed by a live orchestra gives the music even more prominence – as well being able to see it being performed, you can’t beat the acoustics of a concert hall. The music envelops you in a 3-dimensional way that draws you even further into the world of the film, enhancing the overall experience.
Still on the AK07 trail, I also went to a performance by The Spaghetti Western Orchestra. Contrary to what their name suggests, this group is neither an orchestra, nor a wayward group of American bandits. The 5-piece band is a tribute to the music of the spaghetti westerns, and is an example of how film music can come to have meaning in its own right. I think they’re also an extension of the ‘nostalgia culture’ that Pauline Reay mentions in her article. Delightful Foley compositions were interspersed among their interpretations of signature pieces from films including Once Upon a Time in the West and the Dollars trilogy. One performer strutted across the stage with his microphone in a box of cornflakes to simulate gravel, while another clinked metal rods together to evoke the sound of a railway being built. So as well as being nostalgic, the orchestra brought some transparency to the sound design process of western films.
If my experience at these performances is anything to go by, I think they are the kind of things that will help people develop a greater appreciation for film music, and perhaps help it to become more significant and less invisible.
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I also attended the performance/screening of “A Throw of Dice” and found that the silent film score plays a greater part in the viewing experience, perhaps even more so compared to films with sound within the diegetic of the narrative. I think in this case, unlike films where the soundtrack becomes a commodity in its own right, the score creates the commodity which is the film. The score sutures the film scenes together to assist the narrative and emotions within the film. Within the constraints of the time, the score complements changing images, moods and locations on the screen. At the same time the composer creates a score that avoids ‘swamping’ the film and overwhelming the viewing experience. Whilst the film image is primary, the score creates ambience and evokes emotion but also carries the story in a sense that by adding a dynamic that creates subtexts within the film. Unlike films where music and sounds are relegated to the moving images on screen, the re-mediation of the film score within this silent film has meant that the composer was able to shape a new soundscape for the film and therefore enabling a greater dominance of music against the moving images. The live performance of the film score enables this dominance of the music and enhances the viewing experience overall.
- Vanisha
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