Date: 07. 06. 2008.
Type: Article, Essay
Subject: Miklós Erdély
Metropolis - 2007 / 4. - Miklós Erdély
Farinelli’s Disembodied Trills
Miklós Erdély and Avant-Garde Film Sound
Tamás Farkas aims to provide an overview of Miklós Erdély’s directorial oeuvre from the perspective of film sound. On the one hand, the analysis approaches the key figure of the Hungarian neo-avant-garde from the historic avant-garde film practice. On the other hand, the essay also examines the Partita, Dream Reconstructions, Version, Train Trip and Execution in Spring from the perspective of an author whom Erdély has quoted on several occasions: Adorno, whose ideas about cinema and music serve as a reference point for the analysis of Erdély’s films.
In terms of noises and dialogue, Erdély has always tried to break away from what he considered an illusionist practice of subsuming the sound track to the visuals. He strove to achieve all this through the practical implementation of his own montage theory.
At the same time, it seems as though Erdély did not approach the third form of sound – music – so much from the direction of montage theory; we therefore find fewer (and to a lesser extent) “dissembled” musical pieces in his films than what his theory would predict. Still, in terms of using music, a shift is tangible, there is a process of development whose peak is suggested by tiny references only, and which eventually remained unrealized within cinematic practice.