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Written in a bright theological tone, A Façade Becomes A Symphony is an autobiography that relates to the memories of a young woman who overcomes the odds of a very dysfunctional and physically abusive family life that spills over into adulthood.
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• BBC Radio 3 - Composer of the Week - Seven Reasons Why You Must Listen to Philip Glass
• 1. He creates stillness
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• Architecture Becomes Music
• City Symphonies. The future sound of traffic

His writings and research culminated in the music-centered theory of Aesthetic Music Therapy. Routledge Bolero Ozon. Colin Lee , Colin Andrew Lee. Improvisation in context. Creativity and chaos assessment and sessions one to five.

Written on the wind sessions six to. This was a person this was a flame interlude. Everything fades sessions eleven to eighteen. Searching for the light sessions nineteen to twentysix. And still through the pain I saw the rain sessions twentyseven. We see buildings, streets, vehicles, but not the people in them, as they sleep, love, feel, work, hate, get worn down. We see only technological labour, no intellectual work, nobody who reads, writes, conducts research… We glimpse the face of the city, but not the face of humanity in its million permutations.

1. He creates stillness

Thus a critique of a capitalist system, following a Marxist perspective, which they are within and are shown without individual personality or soul but rather all of the same type, massed together and wearing grey uniforms — similar to soldiers doing work for the greater good. This collective walks past the camera, not recognising it, making the viewer feel ghostly as if we are just a presence absorbing these images, with no interaction. This could be said to reflect the anonymousness of living in a large urban area or for the camera acting as an objective onlooker.

In the first act as a whole Ruttmann emphasises the industrial nature of this city and its workers that drive it and captures an architecture that reflects this machine, with its austere streets and factories.

Figure 10A: Analysis of Figure 10, illustrating the strong architectural presence with workers walking towards the camera and the strong perspective that is used. Produced by author. Figure Still taken from Berlin film at Montage is made up of camera techniques and editing techniques.

Ruttmann describes the Berlin film in terms of rhythm — a strong component that runs throughout the film along with montage, but there are other elements that also appear in the film such as influences from both movements of German Expressionism and New Objectivity as this chapter explores. It was part of the larger European movement Expressionism and enveloped a number of creative industries such as painting, film and architecture.

Caligari film.

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Lowry, cited in U. Philipp von Waldenfels. Kardish, Weimar Cinema , op. The middle of the s saw an introduction of a new concept with regard to showing and viewing film, photography and painting, which is known as the previously mentioned New Objectivity. This objectivity was seen as a rejection of the subjectivity of Expressionism, instead focused on objectivity, life and realism8. This was more of a documentary style approach in trying to capture the daily life and routines of people and places.

This method, known as Soviet montage theory, focuses on montage itself as pioneered by film director and theorist Sergei Eisenstein. Eisenstein is considered the main theorist and filmmaker of Soviet montage, he wrote the most on montage and his theories are widely recognised. Observing these shock tactics in more detail it reveals that an attraction works on the psyche of a socially homogeneous audience.

He recognised the socio-political opportunities within cinema as an industry in its commercialism, production, the aesthetic and the artistic statements.

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Boltyanskii, Lenin on cinema pp. Benjamin recognises that film transforms the way we see things and is performed through editing techniques and the using of a camera itself. Benjamin considered this art of reproduction to be revolutionary and crucial for political intentions stating that their most powerful agent is film. The viewing audience had become the mass public, and the mass public was orientated towards reality The viewers empathise with the performer only by empathising with the camera.

Due to this abstraction, instead of the audience being immersed within the film, they become a critic of it, a little expert on film Continuing the place of art within film, he uses the analogy of a painter to his art compared to a cameraman and his viewfinder. Film is art and the painter is a magician distance from object where as the cameraman is the surgeon operating on the patient with his hands on the tissue. Dissecting what he sees Then film came along and exploded all these dungeons with the dynamic of its tenth of a second, leaving us free, now, to undertake adventurous journeys amid their widely scattered ruins.

The close-up expands space as the slow- motion sequence dilates movement… this is a different nature that addresses the camera than the one that speaks to the eye.

Different above all in that the space permeated by human consciousness is replaced by one that is unconsciously permeated … the camera intervenes with its different aids, its plunging and soaring, its interrupting and isolating, its stretching and condensing of the process, its close-ups and its distance shots. Ruttmann uses both technical and formal techniques for influencing the audience as proposed below through analysing more recent film theory. Beginning with the comparison between documentary style non-narrative and fictional narrative styles of filmmaking the shot-to-shot relationships within the film and what they represent can be discussed in terms of film semiotics.

In contrast to many critics at the time, it can be said that documentary does not form a simple opposition to the term narrative23 because in documentary films there will often feature scenes using fictional tools such as characters or creating artificial conflicts — as seen in the previously highlighted fight scene and suicide scene by Ruttmann. Of course this process also works backwards for narrative films, often to the extent that staged actions are used to convey conventional reality — which is developed by fictional films Through a more recent perspective when discussing the Berlin film in terms of rhythms describes its visual style, through editing technique and shot composition, the film is able to extract the abstract characteristics of its subject.

However the film follows the principles of analytical editing, the modification of analytical editing through the use of the suicide scene, in which the rhythmical editing and abstract patterns of movement, mass and tones occur, this technique has been modified through its extensive use of medium-long and long shots.

These appear in a number of forms, including bracket syntagma which is the ordering of shots that removes the detailed examination of space that is associated with analytical editing, meaning the use of medium-long and long shots to create images with pictorial connotations. This analysis of understanding the types of sequences and what they mean also relates to architectural space. An alternating syntagma or cutting between simultaneous events implies their connection by their similarity or matches on action can provide smooth transitions between split shots as seen in the figures below Figures Ruttmans capturing of phenomena of Berlin as visual events and rhetorical strategies such as representing the city as a spectacle is produced by the longer scale shots which function as capturing an allusive view.

Obviously the suicide scene was staged and involves a sequence of seventeen shots played out. It acts as a thread that runs through scene as a device for understanding a place and the action in and around that object. Here the bridge connects the previous sequences of the workers leaving their homes and going to work, then gathering as a mass of bodies to cross the bridge to go to work. The next sequence the gates to the factories open and the reference to a slaughterhouse is made. Therefore even when analysing film from a film theorists standpoint the images evoke architectural meaning.

Showing crowds walking towards bridge. Showing crowds walking on bridge — from screen right to left. Showing crowds walking on bridge — from screen left to right. Showing crowds walking on bridge — shot from underneath.

There are a number of similarities between the city symphony films Berlin and Man with a Movie Camera film; which was directed by Vertov in With reference, again, to the suicide scene the analytical editing formed a parody that Vertov later adopted. This scene develops the action whilst at the same time reflects on the city as a whole in relation to the suicide as a spectacle.

Similarly, a couple obtaining a divorce earlier in the film are shown in establishing shots, point-of-view constructions and close-ups, and Vertov utilises the conventions of Western fictional film as if to criticise the proceedings. One of the connotations of this suggestion could be that the city becomes a stage where the Berlin inhabitants have become performers that Ruttmann films and edits to create sequences for a number of effects, such as a suicide. Which can be viewed as reflecting the daily life of the city from differing perspectives or a capturing of a reality that is in fact fictional.

The act builds up pace and a feeling of chaos, and brings in nature through the wind blowing through the streets and river flowing below the bridge. After the suicide the build up is broken and the rhythm has slowed down and is calm again.

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This comes as the film sets itself up as a documentary, one would presume aiming to portray the city in an accurate way. Due to the films focus on the urban dimension it appears to be void of human characters but can be said to show the people from an overall city perspective.

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An analogy can be drawn from understanding the historical development of the relationship between architecture to film — one of which is montage. When you walk around a building you get a full impression of the scale, form and architectural style it encompasses. One painting can only display one view on a flat surface so is therefore unable to fully represent the architecture as a three- dimensional, visualised object. Film, however, displays a series of views which can be shot from eye level and move through the space as a person can. This series of shots, this montage, is like walking through the space and experiencing it but of course one is not there and not moving through the space.

The audience is still and the space moves which is the opposite to experiencing architecture in reality. The viewer of the film absorbs this two-dimensional montage and imagines the city as a real place through the influence of Ruttmann. For example, in act one a cyclical sequence of the dead city Figures 22 starts with the City Hall building and moves though a series of neighbouring streets of the city centre, showing other civic buildings, cultural buildings and shops, then returning back to the city clock at the top of the tower of the city hall showing five am.

These images or space constructions2 portray purely architectural space.