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Under this fine-sounding title \u2013 which refers directly to Ian Hugo\u2019s experimental film Bells of Atlantis <\/em>of 1951 \u2013 Philippe Langlois traces the history of sound inventions in cinema, from its origins, with the Futurist cinematograph of the 1910s, to the experimental cinema of the last twenty years that makes use of the electroacoustic sound apparatus: a century-long trajectory that brings to light, and into resonance, the relationships cinema has with sound technologies. In two related chapters, \u201cMusique concr\u00e8te and cinema\u201d and \u201cThe Research Service\u201d, Philippe Langlois returns to the personality of Pierre Schaeffer and to his thinking on the image, an \u201cessential adventure for grasping the scope of the intellectual path of this researcher in media art\u201d, as the author specifies. After the Studio d\u2019Essai on the rue de l\u2019Universit\u00e9, Pierre Schaeffer was appointed, on the premises of the RTF, to head the Service de la Recherche, which he directed from 1960 to 1974. Over these 14 years, 114 films have been counted, conceived in collaboration with the GRM composers (Pierre Schaeffer, Fran\u00e7ois Bayle, Bernard Parmegiani, Luc Ferrari, Robert Cohen-Solal, Ivo Malec, Pierre Henry\u2026), of which Philippe Langlois selects the most important productions, although often little known. After 1950, and alongside auteur cinema (Alain Robbe-Grillet and his collaboration with Michel Fano, Tarkovsky\/Artemiev\u2026), it is fantasy and science-fiction cinema (in the United States in particular, with Ian Hugo, Fred McLeod Wilcox, Arthur Hilton\u2026) and experimental cinema (Found Footage<\/em>), on the margins of commercial circuits, that develop the means of a new electronic instrument-making and draw closely towards electroacoustic musical practice.<\/p>\n In his passionate prose, and at the end of more than ten years of research that feeds this impressive summa, Philippe Langlois reveals a part of the History of Music and Cinema that is entirely unpublished, whose discovery one can extend through the website lesclochesdatlantis.com, where numerous video, sound and iconographic excerpts illustrate the argument and anchor this study in an extremely fertile universe of creation.<\/p>\n
\n\tA pre-history of electroacoustic music is thus elaborated in the wake of a number of brilliant \u201cfinders\u201d (Luigi Russolo, Dziga Vertov, the Whitney brothers, Pierre Schaeffer<\/a>\u2026) and their inventions, decisive for the sound-scoring of the image, such as optical synthesis or musique concr\u00e8te.<\/p>\n