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date: 23 October 2020

Abstract and Keywords

This chapterexplores graphical representations of film sequences and the importance of visual representations of film sound as a tool for film analysis. It provides several historical examples that combine drawings or screen grabs with musical notation, including those by Sergei Eisenstein for his 1938 film Alexander Nevsky andClaudia Gorbman’s representation of the images and music used in Jean Vigo’s 1933 film Zéro de conduite. It argues thatgraphical representations of film sequences have set a new standard for intellectual discussion and argumentation on cinema issues, but havealso exacerbated a prior tendency to favor the visual over the aural.

Keywords: film sequences, graphical representations, film analysis, film sound, Sergei Eisenstein, Alexander Nevsky, Claudia Gorbman, Zéro de conduite

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