Performers move theatrical lights into place to reconstruct particular filmic moments in what appears to the spectator to be stark black and white.
Music editors and directors, inventing and defining the soundscape, operate in broad, intuitive, musical strokes in referencing filmic demands.
They do this by rendering musical, photographic and filmic objects, in the immaterial form of code, open to re-formation, to repeated re-creation.
These reconstructed filmic moments usually derive from intimate moments where a character is caught in close-up by the camera.
This article explores the contradiction between the ingrained belief that justice should be ' ' blind' ' and the filmic tradition of positioning woman as spectacle.
With cross-media listening, a particular kind of (filmic) description or explanation is already 'built in' to the visual musical works selected for study.
The premise is that by examining the nature of filmic 'reality' we will be helped to understand architectural form and order.
In essence, music editors re-appropriate music that had been composed to serve the specific needs of other filmic contexts.
