Film has always been an audiovisual medium. Many of the sound strategies employed in contemporary cinema started in the early era of film. The fascination for sound in connection with film creates ever more complex soundscapes, which direct the auditory perception and interpretation of a film. The following films and their soundtracks will be seen and discussed: INFLATION (Richter, Germany 1928) and PACIFIC 231 (Mitry, France 1949) give themselves over to the rush of acceleration. RHYTHMUS 21 (Richter, Germany 1921) is an example of absolute film and POLIZEIBERICHT ÜBERFALL (Metzner, Germany 1928) a film of the avant-garde. In PLAY by Girardet/Müller (Germany 2003), we see and hear the audience, in SANS LUNE (Watzlawick, France 2017), we are immersed in the sounds and voices of the night, and LINT LENT LAND (Spengler, D 2009) allows us to discover concrete imagined landscapes, while ROOM OF CHROMATIC MYSTERY (Cantrill, AUS 2006) brings to us the echoes of far-off spaces. (em) (12.12.)
