We are interested in what role sound and sounds play in the design of cinematic spaces and where the difference between the composition of film music and, for example, sound design lies. We also want to understand how the composed sound and the visibly arranged – the auditory and the visual – interact…

The first season of AUDIO:VISIONEN – The Podcast for film | music | sounds deals with music and sounds in the film. The two sound researchers and moderators Dr. Franziska Kollinger and Dr. Anna Schürmer explore the field through discourse. They ask film music composers about their careers, favorite film scores, works – and also cast an ear to the music of the future. The contrapuntal idea provides conceptual guidance: between music, sounds, and voices as well as between the visual and auditory in film: AUDIO:VISIONEN

Anna Schürmer and Franziska Kollinger introduce the podcast.

Tracklist:

• Only Lovers Left Alive (2013), music: Jozef van Wissem, SQÜRL
• Death in Venice (1971)
• 2001: A Space Odyssey (1968), music: György Ligeti
• Joker (2019), music: Hildur Guðnadóttir
• Rebecca (1940), music: Franz Waxmann

What is, can, and may film music be, and what is the significance of sound, voices, and sounds in the film music conglomerate? – The music and sound researchers Franziska Kollinger and Anna Schürmer discuss these topics passionately. In our pilot episode for season 1 of the AUDIO:VISIONEN podcast, they open up their scientific perspectives on the history, present, and future of film music and sound. Not only do they discuss the current technical discourse, but also their very personal favorite scores. In this prelude to AUDIO:VISIONEN – the podcast for film │ music │ sounds, you also learn which industry personalities will appear as guests in season 1

Tracklist:

• The Mission, Roland Joffé, USA 1986, music: Ennio Morricone
• House of Cards, series, USA 2013-2018, music: Jeff Beal
• Chernobyl, series, USA/GB 2019, music: Hildur Guðnadóttir
• Jeff Beal, The Paper Lined Shack, Supertrain Records 2022 (album)
• The Grab, Gabriela Cowperthwaite, USA 2022, music: Jeff Beal
• Blackfish, Gabriela Cowperthwaite, USA 2013, music: Jeff Beal

Filmcomposer Jeff Beal

The American composer Jeff Beal gained international fame through his music for the TV series “House of Cards” (David Fincher). As a trained jazz trumpeter and bustling composer, he talks with Franziska Kollinger to provide insights into his world of music. We learn which film scores have shaped his concept of sound in film, why the music in film is another character for him and how central the concept of freedom is in his access to music and sound – on and beyond the screen.
More about Jeff Beal: www.jeffbeal.com

Tracklist:

• Silence of the Lambs (USA 1991), music: Howard Shore
• Studentinnen – Eindrücke von einer Hochschule (GDR 1965), music: Peter Gotthardt
• Die Legende von Paul und Paula (DDR 1973), music: Peter Gotthardt
  • Track: „Wenn ein Mensch lebt“ – composition: Peter Gotthardt
• Käthe Kollwitz – Bilder eines Lebens (DDR 1987), music: Peter Gotthardt
  • Track: „Metamorphosen“ – composition: Richard Strauss

Composer Peter Gotthard, Foto: Manfred Uhlenhut

Peter Gotthardt is the grand seigneur of East German film music composition (including “Die Legende von Paul und Paula”). In conversation with Anna Schürmer, he talks about emotions and sonorousness, about the orchestra as the breath of music and the eerie effect of electronics. He reflects on the role played by the German reunification in 1990 for his work and emphasizes that film music sometimes has to
disrupt in order to work.
More about Peter Gotthardt: https://de.wikipedia.org/wiki/Peter_Gotthardt

Tracklist:

• Matrix (1999) music: Don Davis
• Edward mit den Scherenhänden (1990) music: Danny Elfman 
• Tatort: »Waldlust« (2017) music: Martina Eisenreich
• Autonome Musik: Krzysztof Penderecki

Martina Eisenreich, Foto: Christoph Bombart

Anna Schürmer knows Martina Eisenreich from music school. 20 years after graduating, she talks with the composer about folk music and avant-garde, penguins and dachshunds, musical expectations and dreams of power, individual signatures and feminist perspectives. Together, they imagine an all-too-human future music and talk about the magical moment when the hair of the cinema audience stands on end…
More about Martina Eisenreich: www.martina-eisenreich.com

Tracklist:

• Berlin Alexanderplatz (D/NL 2020), director: Burhan Qurbani, music: Dascha Dauenhauer
• Blood Red Sky (D 2021), director: Peter Thorwarth, music: Dascha Dauenhauer
• Golda (USA/UK 2022), director: Guy Nattiv, music: Dascha Dauenhauer
• You were never really here (F/USA/UK 2017), director: Lynne Ramsay, music: Jonny Greenwood

Dascha Dauenhauer, Foto: Bas Bogaerts

In conversation with Dascha Dauenhauer, Franziska Kollinger learns how to puzzle with sound and how important it is to talk about music with each other in film composition. It’s about what you do when you make more than ‘just’ music and what you do when women make film music; it’s about possibilities and limitations in the search for sound and melting-pot film music; in short, everything that makes music Dascha’s music – yesterday, today, and tomorrow.
More about Dascha Dauenhauer: www.dascha-dauenhauer.com

AUDIO:VISIONEN – The podcast for film │ music │ sounds is a project of International Academy of Media & Arts e. V., originated in the setting of the 15th Film Music Days and produced in cooperation with NFP*.

Credits (Season 1):

Production: IAMA & NFP*

Conzept & moderation: Dr. Franziska Kollinger, Dr. Anna Schürmer

Sounddesign: Dietrich Petzold | tonus arcus Berlin

Talk recordings and sound equipment: KLANGFEE media sound

Technical support: Christin Gutwasser | Media- and communication studies, Martin-Luther Universität Halle-Wittenberg

Photography: Joachim Blobel | Studio-Mitte-Medienproduktion

Grafik (Cover): Christian Melms | triagonale – studio für produkt- und kommunikationsdesign