A corollario dell’evento televisivo, le edizioni di Bianco e Nero pubblicano l’anno successivo un volume, che prende lo stesso titolo del programma, nel quale sono in gran parte trascritti i testi degli interventi delle sei puntate televisive. Gatti, noto critico musicale e amministratore delegato della Lux Film, curato e diretto dal regista Glauco Pellegrini, il programma, condotto da Giulietta Masina, è composto da una serie di interviste a registi, compositori, attori e critici cinematografici, dalle registrazione delle due orchestre della RAI (di musica sinfonica e di musica leggera), che eseguono alcuni brani musicali tratti dal repertorio cinematografico, e da un’ampia e variegata antologia di sequenze filmico-musicali.
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The introduction was written by Jonathan Bignell, Sarah Cardwell and Lucy Fife Donaldson.Ĭon Colonna sonora, un programma televisivo andato in onda il 29 maggio 1966 sul Secondo programma della Rai per sei puntate in prima serata domenicale, è la TV ad occuparsi della musica per film italiana. They explore and evaluate the plasticity of images, sounds and their interrelationships, through close attention to programmes that invite a reconsideration of how television sound and image can engage and affect their audiences.
The chapters in this volume analyse some of the expressive potential that the visual and acoustic material of television can have.
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The repetition of serial and series forms in television, and the longevity of some programmes, also give music in television a special significance. Television camera work can give intimacy to performance, and repeated, intense engagement with performance over a long duration could be argued to be a distinctive property of television drama. The development of television image technologies is a story of the quest for realistic accuracy, yet the artistry of image production can run with, or counter to, the discourse of ever-increasing clarity. Analysis and appreciation of individual programmes means looking for coherence between image and sound but also for discontinuity, discordance and tension. As regards sound, television soundtracks may comprise diegetic and non-diegetic sound, including music, dialogue, voice-over, bodily sounds, performed and non-performed sounds. Such attentiveness means focusing on technical and stylistic aspects of the image, including production design, framing and camera movement, mise-en-scène and performance. The Introduction makes a case for the advantages of greater appreciative attentiveness to both sound and image, their interactions with each other, and their roles in establishing meaning and style. Sound and image are evaluated across these examples from a wide range of television forms, formats and genres, which includes series, serial and one-off dramas, children’s programmes, science fiction, thrillers and detective shows. Programmes studied comprise The Twilight Zone, Inspector Morse, Children of the Stones, Dancing on the Edge, Road, Twin Peaks: The Return, Bodyguard, The Walking Dead and Mad Men. Consideration is also given to the significance of quietness, the absence of sounds, and silence. Attending to sound design, contributors address motifs, repetition and rhythm in both music and non-musical sound. As regards sound, each chapter distinguishes different components on a soundtrack, delineating diegetic from non-diegetic sound, and evaluating the roles of elements such as music, dialogue, voice-over, bodily sounds, performed and non-performed sounds. They attend to details of actors’ performances, as well as lighting design and patterns of colour and scale. They explore mise-en-scène, landscapes and backgrounds, settings and scenery, and costumes and props. They consider production design choices, the spatial organisation of the television frame, and how camera movements position and reposition parts of the visible world. The contributors address a wide range of technical and stylistic elements relating to the television image. The chapters gathered here attend to both: they weigh the impact and significance of specific choices of sound and image, explore their interactions, and assess their roles in establishing meaning and style.
In television scholarship, sound and image have been attended to in different ways, but image has historically dominated.
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