CISA–Movie Review
- Fantasie（1940）
Walt Disney created the revolutionary animated film Fantasia (1940), which is unlike anything else in the Disney canon. For a distinctive and engrossing cinematic experience, it merges classical musical masterworks with cutting-edge animation. A remarkable group of directors, including Samuel Armstrong, James Algar, Bill Roberts, Paul Satterfield, Hamilton Lusk, Jim Handley, Ford Beebe, T. Hee, Norm Ferguson, and Wilfred Jackson, were responsible for the movie’s direction. The renowned music critic and composer Deems Taylor serves as the narration.
The movie is divided into eight discrete scenes, each with a distinctive classical score performed by the Philadelphia Orchestra under the direction of Leopold Stokowski. The pieces feature a blend of storyline, vibrant images, and abstract animation. The narrative is driven by the music, which also establishes the mood for each segment.
The innovative way that Fantasia syncs music and animation sets it unique from other films. The visual effects created by the animators have been designed to go together with the music’s tempo, tone, and emotion. The two art forms’ impact is increased as a result of the synchronisation, which fosters a potent synergy.
Fantasia heavily relies on composition. Beethoven’s “Symphony No. 5” and Poncheri’s “Dance of the Hours,” two humorous and jovial pieces, are only two examples of the diverse repertoire of classical music that is available. The animation is guided by each piece of music, which establishes the rhythm, movement, and visual story.
The movie serves as an example of how music may elicit a variety of feelings. In order to establish a more profound and universal relationship with the audience, the use of animation and music exceeds the limitations of spoken communication. A multi-sensory experience that is both fascinating and emotionally resonant is created by immersing the viewer in a sensory journey of visual and audio interplay.The movie Fantasia offers proof of the importance of music in movies. It serves as an example of how inventive animation and a well-composed soundtrack can take the viewer to new worlds while invoking strong emotions. The film’s skillful integration of musical composition as a crucial component of the narrative process is largely responsible for its ongoing popularity and critical acclaim.
Smith, W.A., 1990. The Mystery of Leopold Stokowski. Fairleigh Dickinson Univ Press.
Dziekonski, M.L., 2017. An Exploration of Leopold Stokowski’s Musical Practice through Primary Sources. University of London, Royal Academy of Music (United Kingdom).
2.Kinobibliothek (1919)
The iconic Kinobibliothek by Giuseppi Becce (1919) – The German-Italian composer Becce is regarded as one of the forerunners of film music. His work on the Kinobibliothek series of short films, which included the most recent in cinematic technology, contributed to the development of film music as an essential element of the cinematic experience. Becce’s compositions were thoughtfully written to complement the images, intensifying the emotions and giving the many scenes a feeling of coherence. His use of leitmotifs, or repeating musical themes, contributed to the series’ sense of cohesion by connecting the many episodes. Becce’s revolutionary work on Kinobibliothek paved the path for the increasingly popular use of music in films in the years to come.
Kalinak, K.M., 1982. Music as narrative structure in Hollywood film. University of Illinois at Urbana-Champaign.
- Napoléon (1929)
.Napoleon (1929), a film by Arthur Honegger (1892–1955) – Honegger was a prolific film composer from Switzerland. One of the best cinematic music ever composed is credited to him for the epic biopic Napoléon by Abel Gance. The music was composed for a sizable orchestra, which included a sizable percussion section, and it combines classical and avant-garde musical traditions. The visuals and the score are closely timed, resulting in a seamless fusion of the two mediums. Throughout the lengthy running duration of the movie, Honegger’s use of leitmotifs, notably for the figure of Napoléon, aids in establishing a feeling of continuity. The score further highlights the magnitude and scale of the movie’s subject matter, transforming the historical epic into a wholly cinematic event.
Landormy, P. and Rothwell, F., 1929. Arthur Honegger. The Musical Times, 70(1039), pp.789-791.
Spratt, G.K., 1987. The Music of Arthur Honegger. Cork University Press.