Les Cloches d’Atlantis, musique électroacoustique et cinéma, archéologie et histoire d’un art sonore
Philippe Langlois invites us to explore the history of sound inventions in cinema, at the crossroads of technology, music and cinema, in the wake of the most inventive composers and filmmakers.
From the sound systems devised for silent cinema to the sound manipulations that stem from the use of the optical track, from fiction to documentary films, from animation to experimental films, a tenuous field of convergence takes shape in which a form of prehistory of electroacoustic music emerges.
These experiments, moreover, were not without influence on the approach of Pierre Schaeffer when he invented musique concrète and gave concrete form to his project within the GRMC and the Service de la Recherche of the ORTF, which he directed until 1975.
After the 1950s, electroacoustic music gained an ever more important place, to the point of blending entirely into the cinematic apparatus and feeding the main artistic currents of experimental cinema and auteur cinema.
A completely new way of approaching the parallel and Underground history of electroacoustic music in cinema, the outcome of more than ten years of research.