Sound and Vision: The Artistry of Margaret Leng Tan and Evans Chan in Sorceress of the New Piano, Makrokosmos I & II, and The Maverick Piano

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Abstract

Ever since the inception of sound cinema with 1927’s groundbreaking Th e Jazz Singer, there has been an intrinsic, virtually inseparable relationship between sound and vision in the minds of filmmakers. Al Jolson’s musical contribution to that film’s success cannot be underestimated. Electronically mediated synchronous sound replaced externally produced, and to an extent extraneous, live music, and the possibility of a total fusion of cinematic sound and vision was born. Th e twin channels of reception were not, however, destined to be of equal status. Rather like the converse of a Victorian child, film sound was usually intended by the producers to be heard rather than perceived. In other words, it was not expected to be too obtrusive or exceed its strict narrative functions of punctuating action and heightening emotion, thereby promoting audience identification with character and situation. Perhaps reasonably enough, given cinema’s primary appeal to optical channels of consciousness, the role of sound, whether ambient and diegetic or atmospheric, narrative-driven, and nondiegetic, has inevitably been a secondary and subordinate one. To use an auditory metaphor, sound has always played second fiddle to the virtuosity of the visual in cinema’s orchestra. Even in the earliest days of pre-sound cinema in the nickelodeons the piano accompanists, however resourceful their playing and however familiar or catchy their scores, were arguably less present for the audience than the two-dimensional images purveyed on screen
Original languageEnglish
Title of host publicationPostcolonialism, diaspora, and alternative histories : the cinema of Evans Chan
EditorsTony WILLIAMS
PublisherHong Kong University Press
Chapter8
Pages101-121
Number of pages21
ISBN (Print)9789888208166
Publication statusPublished - May 2015

Fingerprint

Sound
Maverick
Artistry
Cinema
Diegetic
Consciousness
Filmmaker
Music
Emotion
Optical
Victorian Era
Jazz Singer
Fusion
Fiddle
Reception
Hearing
Intrinsic
Virtuosity
Heightening
Film Sound

Cite this

INGHAM, M. A. (2015). Sound and Vision: The Artistry of Margaret Leng Tan and Evans Chan in Sorceress of the New Piano, Makrokosmos I & II, and The Maverick Piano. In T. WILLIAMS (Ed.), Postcolonialism, diaspora, and alternative histories : the cinema of Evans Chan (pp. 101-121). Hong Kong University Press.
INGHAM, Michael Anthony. / Sound and Vision: The Artistry of Margaret Leng Tan and Evans Chan in Sorceress of the New Piano, Makrokosmos I & II, and The Maverick Piano. Postcolonialism, diaspora, and alternative histories : the cinema of Evans Chan. editor / Tony WILLIAMS. Hong Kong University Press, 2015. pp. 101-121
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abstract = "Ever since the inception of sound cinema with 1927’s groundbreaking Th e Jazz Singer, there has been an intrinsic, virtually inseparable relationship between sound and vision in the minds of filmmakers. Al Jolson’s musical contribution to that film’s success cannot be underestimated. Electronically mediated synchronous sound replaced externally produced, and to an extent extraneous, live music, and the possibility of a total fusion of cinematic sound and vision was born. Th e twin channels of reception were not, however, destined to be of equal status. Rather like the converse of a Victorian child, film sound was usually intended by the producers to be heard rather than perceived. In other words, it was not expected to be too obtrusive or exceed its strict narrative functions of punctuating action and heightening emotion, thereby promoting audience identification with character and situation. Perhaps reasonably enough, given cinema’s primary appeal to optical channels of consciousness, the role of sound, whether ambient and diegetic or atmospheric, narrative-driven, and nondiegetic, has inevitably been a secondary and subordinate one. To use an auditory metaphor, sound has always played second fiddle to the virtuosity of the visual in cinema’s orchestra. Even in the earliest days of pre-sound cinema in the nickelodeons the piano accompanists, however resourceful their playing and however familiar or catchy their scores, were arguably less present for the audience than the two-dimensional images purveyed on screen",
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INGHAM, MA 2015, Sound and Vision: The Artistry of Margaret Leng Tan and Evans Chan in Sorceress of the New Piano, Makrokosmos I & II, and The Maverick Piano. in T WILLIAMS (ed.), Postcolonialism, diaspora, and alternative histories : the cinema of Evans Chan. Hong Kong University Press, pp. 101-121.

Sound and Vision: The Artistry of Margaret Leng Tan and Evans Chan in Sorceress of the New Piano, Makrokosmos I & II, and The Maverick Piano. / INGHAM, Michael Anthony.

Postcolonialism, diaspora, and alternative histories : the cinema of Evans Chan. ed. / Tony WILLIAMS. Hong Kong University Press, 2015. p. 101-121.

Research output: Book Chapters | Papers in Conference ProceedingsBook ChapterResearchpeer-review

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INGHAM MA. Sound and Vision: The Artistry of Margaret Leng Tan and Evans Chan in Sorceress of the New Piano, Makrokosmos I & II, and The Maverick Piano. In WILLIAMS T, editor, Postcolonialism, diaspora, and alternative histories : the cinema of Evans Chan. Hong Kong University Press. 2015. p. 101-121