Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna
Abstract
The basic starting point of the following text lies in the essays written by Czech theorists of 1930s, such as poets, scientists, film critics and avant-garde filmmakers. The text proceeds from the precedence of asynchronity which is the fundamental mean of the film language. It follows the origins of using the sound as the bearer of meaning and it looks for describe it as a meaning-making element of the film transmission. I?m writing about the experiments of visualisation of sounds based on searching the analogy between the visual and the acoustic space of a film opus. I proceeded from the films of O. Fischinger, Whitney brothers, L. Lye, H. Hirshe, F. and S. Themerson and J. Lehovec. For the analysis of relations between geometrical and informel structures depending on the space and the time, I used the films of M. Duchamp, F. Léger, G. Dulac, H. Chomette, R. Steiner, H. Richter, V. Eggeling and W. Ruttmann.
An integral part of this text is the formal analysis of the film Na Pražském hradě (Prague Castle, 1931) by Alexander Hackenschmied. All this only for find the optophonetic harmonies, based on the vibrations of the acoustic and visual waves and their synchronous or asynchronous variations
