VISUAL SOUND

Visual music films in the history of avant-garde and experimental film

Abstract

Various cinematographers (avant-arde artists of the first half of the last century, as well as modern experimenters) and their films are discussed in the article in an attempt the concept of visual music in film to be clarified.  Historical review supports the search for the roots of the idea of art in which sound is visible. The aspiration of avant-garde cinematographers to free filmmaking from the influence of other arts does not concern music, as it has a similar feature to the moving image - development over time. The harmonious or chaotic interaction of music with the cinematic image provokes the imagination of the spectators, who have the opportunity to touch a film that extends beyond the framework of entertainment. The chronotope techniques, which are well known in the cinematic, contribute to the formation of common and recognizable aesthetic features of the visual music films, although they are not limited to them. Located in the field of digital technology, the visual music film is both a historical heritage, a model for the infinity of imagination, and a contemporary creative practice.