20th Century Music within the Cinema

1	Fordidden Planet	1954 – Fred Macleod Wilcox (USA)
	Electronic	Score by Louis & Bebbe Barron; psychic landscapes & extraterrestrial presence; cosmic energy and immaterial instrumentation

2	The Shining	1980 – Stanley Kubrick (UK)
	Avant-garde orchestral	Source score by Bela Bartok / Kryzysztof Penderecki / Gyorgy Ligeti; the Other & atonality; orchestral collapse & mental stress

3	Moses and Aaron	1976 – Jean-Marie Straub & Danielle Huillet (Germany)
	Serialism	Opera by Arnold Schoenberg; cinematicized libretto; biblical text & musical literalization

4	The Convent	1998 – Manoel De Oliveira (Portugal)
	Spectralism	Source score by Igor Stravinsky / Sofia Gubajdulina / Toshir Mayazumi; aural vastness & emptiness; Judeo-Christian erasure

5	Arashi ga oka	1985 – Yoshihige Yoshida (Japan)
	Japanese modernism	Composer Toru Takemitsu; western inversions; traditional noise; gendered musical semes

6	Life On A String	1991 – Kaige Chen (China)
	Chinese modernism	Composer Xiao-Song Qu; converted grandeur and Chinese scale; mystical power of the troubador

7	A Clockwork Orange	1971 – Stanley Kubrick (UK)
	Synthetic classical	Composer Walter Carlos; source score by Ludwig Beethoven / Gioacchino Rossini / Edward Elgar; the act of listening; social manipulation & synthetic process

8	Tron	1982 – Steve Lisberger (USA)
	Analague digital simulation	Composer Wendy Carlos; duality and aural rendering; the plastic orchestra; simulative sonics

9	Koyanisqaatsi	1983 – Godfrey Reggio (USA)
	Minimalism	Composer Philip Glass; cavernous vibrations and earth frequencies; choral affects and epic bombast

10	Vagabonde	1985 – Agnes Varda (France)
	Atonal	Composer Joanna Bruzdowicz; amorality and indifference in atonality; narrative blockages in harmonic progression