Film has always been an audio-visual medium. Many of the sound strategies employed in contemporary cinema started out in cinema’s early years. The fascination for sound in connection with film creates ever more complex sonic landscapes, which direct the auditory perception and interpretation of a film. This film program is dedicated to sound and music strategies used in silent films. These films and their soundtracks will be viewed and discussed: in PLAY by Christoph Girardet/Matthias Müller (Germany 2003), we see and hear the audience, in SANSLUNE (Sophie Watzlawick, France 2017) we become immersed in the sounds and voices of the night and LINT LENTLAND (Isabell Spengler, Germany 2009) allows us to discover imaginary landscapes. INFLATION (Hans Richter, Germany 1928) and PACIFIC 231 (Jean Mitry, France 1949) submit to the rush of acceleration. RHYTHMUS 21 (Hans Richter, Germany 1921) is an example of absolute film, just as POLIZEIBERICHT ÜBERFALL (Ernö Metzner, Germany 1928) is a film of the avant-garde. (em) (19.1., with an introduction by Eunice Martins)
