Abstract
AbstractIn 1952, the Italian film historian Lo Duca, having discovered a lost print of Carl Theodor Dreyer’s La Passion de Jeanne d’Arc (1928), created a sonorized version of the film. This article details the history of the project and examines the use of baroque music with the moving image more generally. It also considers the vicissitudes of using pre-existent recordings and proposes a notion of aleatoric synchronization.
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