Film and Music in the Process of Integration
Teresa Rutkowska
tz.rutkowska@gmail.comInstitute of Art, Polish Academy of Sciences (Poland)
https://orcid.org/0000-0002-2888-9206
Abstract
The author describes the first stage of Alicja Helman’s academic career, which took place in the 1960s and was devoted to reflection on film music. Her education in musicology and film studies allowed her to take a unique and in-depth look at what occurred on the border between these two fields. She was a student of professor Zofia Lissa, who dealt with the aesthetics of film music. Helman, who was primarily a film enthusiast, although she valued the achievements of her mentor, went her own way. She included her first thoughts on this subject in several texts written for the first edition of Kwartalnik Filmowy. She then developed these concepts in three books: Rola muzyki w filmie [The Role of Music in Film] (1964), Na ścieżce dźwiękowej [On the Soundtrack] (1968) and Dźwięczący ekran [The Sounding Screen] (1969). Her interests then broadened considerably and she took up film theory, but the musical aspect was always close to her. (Non-reviewed material).
Keywords:
Alicja Helman, Zofia Lissa, Conference of Composers and Music Critics 1949, film music, sound in film, autonomous musicReferences
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Authors
Teresa Rutkowskatz.rutkowska@gmail.com
Institute of Art, Polish Academy of Sciences Poland
https://orcid.org/0000-0002-2888-9206
Former editor-in-chief of Kwartalnik Filmowy, translator, now retired. She publishes book reviews in the monthly magazine Nowe Książki. Her areas of interest include film narration and the relationship between image and word in film.
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