. . . Although films were “silent” for their first three decades of development, they were very rarely without sound in public. From (almost) the beginning they were accompanied by music. Before anyone dared to suppose that cinema had any future as art, music was already alongside the images, though outside them. It helped to compensate for their disturbing silence: a soundless, voiceless world was as phantasmagoric as if it had been submerged in water. But above all, music performed the same function as in theatrical melodramas: it helped to channel — or even to vary — the energy and the meaning of what the images were showing…
. . . Consequently, the CAMERA OBSCURA project is intended as an imaginative exploration of any of these modes of interaction between music and image, from the most conventional to the most experimental. Although it is based on something as common as performing live music with classic silent films, it also aims to be a project in “experimental film history”, as well as a creative challenge for musicians who are entrusted with dealing conceptually with the music for a film…
Luis Miranda
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