Symphonic Synchronization in Nevsky (with a little Pierrot le Fou)

The study of sound and vision is one that can bring out many different aspects of films. I have been amazed so far at how many sounds and conventions I have overlooked in watching films and also at what I already know and notice. In a film like Pierrot Le Fou, which I have seen twice before, the sound is even more complex and in-depth than I initially realized. 
         The opening sequence of Godard's film contains shots of life in Paris, paired with a soundtrack of non-related voiceover narration and no noise, ambient or other. Shortly in, an ominous symphonic soundtrack that is just as quickly ripped away as we join our main character in the bath. In a way, this voiceover-source revealed is reminiscent of film noir openings, but it maintains stylistic differences both in the cinematography and the disjointed pairing of other tracks. The soundtracking that Godard uses throughout the film draws me to wonder at his motives in choosing which parts to keep silent, which parts to have narration, which parts to use music, and which parts to combine elements.
        Fortunately, some directors do let us into this part of their worlds. In one of this week's readings, Sergei Eisenstein discusses his work with sound and composers, specifically for his film Alexander Nevsky. For his film, Eisenstein sought to bind sound and image "organically through movement." This can be observed (as we learned in class) especially in the "battle on the ice sequence," which is when, according to Eisenstein, "the audio-visual aspect of Alexander Nevsky achieves its most complete fusion." In the battle, often times when knights lower their spears for attack, the music also travels down the scale. This is complemented by high notes when the spears are in the air and a quick descending flurry when arrows are fired. In his writings on the synchronization, Eisenstein goes as far as to include images of his charting of the shots, the motion implied, and the accompanying musical score in which the levels and motion are mimicked by the notes on the staff. 
     I find this to be a fascinating concept, and one that I think deserves more experimentation. We are perhaps, held back from this type of learning by the current profit-first Hollywood system of fast cutting.