Music and cinema are two arts that have shown the most varied synthesis
on semiotic and phenomenological levels during their century-old history. The permeation
of these two arts has given birth to a substantially new form of their existence. That
is the reason that the films and the complete creation of Sergey Parajanov are somehow
situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film.
The overflowing of characteristics from one art to another does not occur to the detriment
of the genre category of this particular art; in other words, the film does not
cease to be film, nor is this the case with music. It would be more precise to confirm
just the opposite: the permeation of the characteristics between the arts enriches each
individual art, because the associative degree is augmented. This circumstance influences
the perception of these arts, especially of the cinema. It acquires the capacity to
actively influence the spectator, seemingly evading its basic visual rank. This genre of
cinema refers to intellectual, sensual and subconscious incentives, forming at the same
time a new type of spectator.
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