If music, as a structured sequence of sounds, functions so that we try to ascribe it a meaning, but this keeps evading us, then film, as a structured sequence of images based on a specific organisation of narrative material, functions so that there is always too much meaning. It is precisely in this that we need to recognise the duality of music within a film: without the film, there is too much music, but in the film it is already a way of consolidating narrative patterns. In his contribution, the author proceeds from three borderline situations – the roaring of a projector, whistling and the Ives-Isler-Hermann historical line, which he illuminates thorough his consideration of individual films.

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