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Journal articles on the topic 'Film music studies'
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1
SADOFF, RONALD H. "The role of the music editor and the ‘temp track’ as blueprint for the score, source music, and scource music of films." Popular Music 25, no. 2 (May 2006): 165–83. http://dx.doi.org/10.1017/s0261143006000845.
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The ‘temp track’, a temporary mock-up of a film's soundtrack, is assembled from pre-existing music prior to the real, commissioned score being composed. An integral element of the post-production process of American feature films, it survives only in its role for audience previews. Constructed by a music editor, in most cases, it is a blueprint of a film's soundtrack – a musical topography of score, songs, culture and codes in which a balance must obtain between the director's vision, the music's function, underlying requirements of genre, and the spectator's perception. This article demonstrates that the temp track informs compositional practices and the final score, and makes the argument that textual analysis would benefit from the recognition of the role of production practices. Drawing on published sources and interviews with practitioners, this article provides historical context and musical detail, and shows how productive analysis can be when it draws on practitioners' insights as well as textual analysis. Film score analysis must not begin and end with the finished film score but must utilise a more eclectic methodology which takes into account the production process. Film score analysis should reflect the constitutive nature of film and film music.
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Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (January 1, 2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.
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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.
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Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (May 1988): 177–88. http://dx.doi.org/10.1017/s0261143000002749.
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The ubiquitous songs in India's commercial feature films play a dual role in Indian society: they serve as both film songs and pop songs for India's 800 million people. India is the largest film-producing country in the world and one fifth of its current annual production of approximately 750 films is made in Hindi, each film having an average of five to six songs (Dharap 1985). As the major form of mass entertainment available on a national scale, rivalled only by the government-run television network, Hindi cinema plays a prominent and influential role in Indian society. Yet its songs, which represent India's most popular music in the twentieth century, are relatively little known to non-Indians, either to scholars or to the general public. Musicologists and anthropologists have for the most part focused their attention on Indian classical and folk traditions to the neglect of film song. To counteract this imbalance I propose here to examine one important aspect of Hindi film song – its peculiarly eclectic nature – which plays a major role in the nationwide appeal of this popular music. I look at some of the ways in which these film songs are eclectic and possible reasons why they are so. Such a study provides insights into the role of this popular music in Indian society and culture and can thereby contribute to an understanding of the role of popular music generally in non-Western and developing countries.
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Gillespie, David C. "The Sounds of Music: Soundtrack and Song in Soviet Film." Slavic Review 62, no. 3 (2003): 473–90. http://dx.doi.org/10.2307/3185802.
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In this article, David C. Gillespie explores the deliberate foregrounding of music and song in Soviet film. He begins with a discussion of the structural and organizing roles of music and song in early Soviet sound films, including tiiose by Sergei Eizenshtein, Grigorii Aleksandrov, Ivan Pyr'ev, and Aleksandr Ivanovskii. Gillespie then focuses on the emphasis on urban song in some of the most popular films of the stagnation years, such as The White Sun of the Desert (1969) and Moscow Does Not Believe in Tears (1979), adding considerably to the appreciation of these films. To conclude, he analyzes folk music in films about village life, especially those directed by Vasilii Shukshin, and explores the role of music in constructing a mythical and nationalistic discourse.
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Al-anbiya, Dzulfikar, Aquarini Priyatna, and R. M. Mulyadi. "REPRESENTASI MUSIK SEBAGAI SEBUAH IDEOLOGI DI PESANTREN DALAM FILM BAIK-BAIK SAYANG." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 3 (November 8, 2018): 403. http://dx.doi.org/10.30959/patanjala.v10i3.432.
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Artikel ini membahas musik di pesantren yang direpresentasikan sebagai sebuah ideology dalam film Baik-Baik Sayang.Perdebatan ideologi yang membolehkan dan melarang musik masih diperdebatkan di kalangan ulama dapat diargumentasikan sebagai manifestasi ideologi sebuah instansi pendidikan berbasis agama Islam tertentu. Perdebatan ideologi tersebut direpresentasikan dalam film Baik-Baik Sayang dengan mengangkat cerita perjalanan sebuah band musik bernama Wali yang dibentuk di Pesantren La Tansa. Penelitian ini menggunakan pendekatan kualitatif dengan konsep media representasi Stuart Hal dan kajian sinema. Penelitian ini menunjukkan bahwa film merepresentasikan musik sebagai ideologi secara biner. La Tansa dan Band Wali merupakan representasi ideologi yang membolehkan musik di pesantren. Ideologi yang berlawanan direpresentasikan melalui tokoh antagonis. Film juga merepresentasikan fenomena bentuk ideologi lain yang lebih negosiatif dalam sosok ayah Fa’ank.This article explains music within pesantren, which is represented as an ideology in the movie Baik-Baik Sayang. Ideological debates about legalizing and prohibiting music among Muslim theologian can be argued as ideology manifestation from certain Islamic educational institute. Those ideology debates are represented in movie Baik-Baik Sayang that tells the story about a music band called Wali, which is formed within pesantren La Tansa. This research uses qualitative approach using the concept of media representation proposed by Stuart Hall and cinema studies. This research shows that movie representing music as ideology binary. La Tansa and Band Wali are the representation of ideology that legalizing music within pesantren. The contradiction ideology is represented by an antagonistic role. This movie also representing another ideology form, which is more negotiable within Ayah Fa'ank role
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Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (January 28, 2020): 13. http://dx.doi.org/10.3390/arts9010013.
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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch’s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch’s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch’s writing style. The relatively early emergence of self-reflexive and “self-conscious” moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.
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Mera, Miguel. "Is Funny Music Funny? Contexts and Case Studies of Film Music Humor." Journal of Popular Music Studies 14, no. 2 (September 2002): 91–113. http://dx.doi.org/10.1111/j.1533-1598.2002.tb00039.x.
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Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (May 1998): 153–85. http://dx.doi.org/10.1017/s0261143000000581.
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When we become engaged with a music video, what draws us in? What constitutes craft or artistry in the genre? Theorists of music video have usually addressed these questions from the perspective of sociology, film theory or popular cultural studies. Film theory, in particular, has had a tremendous influence on the analysis of music video, because of the two genres' apparently similar structuring of sound and image. But by the criteria of film, music videos tend to come off as failed narratives; the genre's effectiveness eludes explanation.
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Tan, Siu-Lan, Matthew P. Spackman, and Matthew A. Bezdek. "Viewers' Interpretations of Film Characters' Emotions: Effects of Presenting Film Music Before or After a Character is Shown." Music Perception 25, no. 2 (December 1, 2007): 135–52. http://dx.doi.org/10.1525/mp.2007.25.2.135.
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STUDIES ADDRESSING EFFECTS OF MUSIC ON VIEWERS' perceptions of film have usually presented music simultaneously with a scene of interest. In the present study, 177 undergraduates viewed film excerpts with music presented before or after a scene featuring a single character. Whereas the film characters had emotionally neutral or subdued facial expressions, the music conveyed happiness, sadness, fear, or anger. Overall, participants tended to interpret characters' emotions in ways that were consistent with the particular emotion expressed in the music, offering evidence for both forward and backward affective priming effects. Our data confirm Boltz, Schulkind, and Kantra's (1991) findings on the role of music in foreshadowing. As far as we are aware, the effects of music on a prior scene have not been demonstrated in film music research. Our findings suggest that music does not have to be presented concurrently with onscreen images to influence viewers' interpretations of film content.
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Hogg, Christopher. "The Punk-Rock King: Musical Anachronism in Period Film." Media International Australia 148, no. 1 (August 2013): 84–93. http://dx.doi.org/10.1177/1329878x1314800110.
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Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with the temporality depicted on screen. Through the analysis of a sequence from the film W.E. (Madonna, 2011) and the consideration of existing critical and conceptual contexts, this article will explore how anachronistic soundtracks can function beyond ‘postmodern novelty’ or ‘nuisance’ to historical verisimilitude, instead offering alternative modes of engagement with story and history.
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Corner, John. "Sounds real: music and documentary." Popular Music 21, no. 3 (October 2002): 357–66. http://dx.doi.org/10.1017/s0261143002002234.
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This article examines the way in which music has featured in documentary films and programmes. The conventions of restrained use to cue mood and theme are explored, using examples and the recommendations of manuals. Across the varieties of documentary output, the article notes how the dominance of journalistic and observational formats has, for different reasons, tended to place music in the margins. Drawing on an example from the classic period of documentary film-making in Britain, it points towards a more expansive use of music in a complementary relationship with images. A number of general theoretical points about the specific properties of the documentary image and its relationship with music are raised and recent examples of successful innovation discussed. The article ends by suggesting that there is more scope for aesthetic development in music-image relations than has often been recognised and that some of the established inhibitions about mixing ‘fact’ with ‘emotion’ need to be reviewed.
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Kirchner, Harry. "Review: Screen Scores: Studies in Contemporary Australian Film Music." Media International Australia 91, no. 1 (May 1999): 176–77. http://dx.doi.org/10.1177/1329878x9909100118.
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Wallis, Roger, and Krister Malm. "Push-pull for the video clip: a systems approach to the relationship between the phonogram/videogram industry and music television." Popular Music 7, no. 3 (October 1988): 267–84. http://dx.doi.org/10.1017/s0261143000002944.
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Using pictures to sell music is hardly a new concept. Examples of pictures being set to pre-recorded music with the aim of producing a piece of audio-visual entertainment can be found as early as the first decade of this century. At the Paris World Fair in 1900, stars of the theatre appeared in short film sketches with synchronised gramophone sound (Olsson 1986). From 1905 through to about 1914 in Sweden, a number of commercially available music recordings were used as the basis of short films which were shown in cinemas with various types of mechanical inventions and much human ingenuity being applied to ensure, though not always achieving, synchronisation. Those portrayed in the films were often actors who mimed the songs (Furhammar 1985, 1988).
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MAGEE, GAYLE SHERWOOD. "Song, Genre, and Transatlantic Dialogue in Gosford Park." Journal of the Society for American Music 2, no. 4 (October 23, 2008): 477–505. http://dx.doi.org/10.1017/s1752196308080140.
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AbstractHidden in plain sight, the five songs in the middle of, Gosford Park (2001) prepare the audience for the untangling of sordid relationships and the resolution of a murder mystery at the end of the film. This article presents a detailed analysis of the film's central musical sequence using video captures, reception history, transcriptions, and other approaches from music history and film studies. As is shown, the close relationship between music and image reflects the fascination of US audiences with British-themed films and the equally complicated appeal of Hollywood films to British audiences. Additionally, the songs provide a surfeit of narrative information crucial to the resolution of the multiple story lines. Lastly, the songs complicate and expand the work's seemingly straightforward murder-mystery genre to include such incompatible models as the British heritage film, Hollywood musicals, melodramas, and the double feature. Informing this musical sequence, and the entire film, is a complex, reciprocal transatlantic exchange founded on mutually inaccurate, yet often irresistible, myths of history and identity.
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Cieślak, Agnieszka. "Meanings of music in film from a cognitive perspective." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 107–16. http://dx.doi.org/10.14746/ism.2019.19.7.
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Cognitive psychology, with its focus on mind and its processes, is one of the approaches to study film music. Although music alone is said to be already meaningful, it gains and transfers specific meanings in the film context. This article aims to contribute to understanding of what film music means and how these meanings are processed in the cross-modal perception of a film. A review of the selected empirical research on film music with regard to meaning is followed by a short overview of the Annabel J. Cohen’s Congruence-Association Model (CAM) of media cognition. The model provides a framework for the experiments’ results and encourages future interdisciplinary studies in this area.
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Stanfield, Peter. "Crossover: Sam Katzman'sSwitchblade Calypso Bop Reefer Madness Swamp Girlor ‘Bad Jazz,’ calypso, beatniks and rock 'n' roll in 1950s teenpix." Popular Music 29, no. 3 (October 2010): 437–55. http://dx.doi.org/10.1017/s0261143010000255.
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AbstractThis essay challenges the received wisdom that teenpix of the 1950s were dominated by a soundtrack of rock 'n' roll. I argue that this cycle of film production was marked by a diversity of musical genres, styles and types. Not only rock 'n' roll, but rhythm 'n' blues, folk, rockabilly, swing, West Coast jazz, bebop, Latin music such as the mambo, the rhumba, the cha cha chá, and Caribbean calypsos were all heavily featured in these films. This study is carried out through a focus on the temporal arrangements – fads, cycles, trends – that govern serial production and consumption of movies and popular music. Following Philip Ennis' thesis that rock 'n' roll is best defined by its ability to ‘crossover’ musical boundaries – to move, for example, across the pop, country, and rhythm 'n' blues charts – I argue that the film industry chose not to overly limit the music it had on offer and instead provided a varied package, some of which, it expected, would crossover and appeal to diverse and capricious teenage tastes.
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May, Anthony. "Phil Spector and the New Movie Soundtrack." Media International Australia 148, no. 1 (August 2013): 127–34. http://dx.doi.org/10.1177/1329878x1314800114.
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This article looks at the changes that occurred in pop music during the 1960s, which established the foundation for the reconfiguration of its relationship with film. The focus is on the work of producer Phil Spector and the radical changes that he brought to the medium of pop music in the early part of that decade. While the article stops short of suggesting that Spector was directly responsible for the transformation in cinema soundtracks heard in New Hollywood films from 1968 onwards, it does contend that his influence rendered pop music more accessible for movie soundtracks. Spector's innovative studio manipulations, which were designed to remove the sonic dominance of the vocal, were at the centre of these transformations.
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Link, S. "Changing Tunes: the Use of Pre-existing Music in Film * Film's Musical Moments * European Film Music." Screen 48, no. 2 (January 1, 2007): 273–79. http://dx.doi.org/10.1093/screen/hjm027.
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GRASSE, JONATHON. "Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu." Popular Music 23, no. 3 (October 2004): 291–310. http://dx.doi.org/10.1017/s0261143004000182.
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Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural development are implicated, such as authoritarianism, the politics and sociology of race, technological advances, mass media, and modes of modernisation. Here, bossa nova and rap engage society through reflexive and generative interpretations within a narrative designed to illustrate connections between processes of innovative, trans-national cultural production, myths of national identity, social change, and the powerful role of popular music in film.
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Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (November 1, 2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.
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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.
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Summerhayes, Catherine. "Translative Performance in Documentary Film: Bob Connolly and Robin Anderson's Facing the Music." Media International Australia 104, no. 1 (August 2002): 19–29. http://dx.doi.org/10.1177/1329878x0210400105.
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Facing the Music (2001) is a film that performs at many levels. While its primary narrative is about the effects of government funding cuts to universities, and specifically the effect on the University of Sydney's Music Department, the film also weaves other more generic stories about people and how they interact with each other. Connolly's and Anderson's complex and confronting style of observational film-making is examined in the context of this film for the ways in which it ‘assumes' that film can ‘translate’ the details of people's everyday lives into a broad discussion of particular social issues and conflicts. As with all translations, however, some meanings inadvertently are lost and others added. Drawing on Walter Benjamin's idea of ‘translatability’ and Brecht's concept of gest, this paper describes how particular cultural meanings which are embedded within the documentary film, Facing the Music, can be accessed through the ways in which the audiovisual text ‘melodramatically’ presents people and profilmic events. Thomas Elsaesser's definition of classic fictional melodrama, as a ‘closed’ world of ‘inner’ violence where ‘characters are acted upon’, becomes a guide to understanding the film's secondary narratives about the operation of particular stereotypical, binary representations: men and women; artists and ‘the rest of the world’; academics (‘gown’) and other people (‘town’). Using Laura Mulvey's further distinction of ‘matriarchal’ and ‘patriarchal’ melodramas. Facing the Music is described as a ‘matriarchal’ documentary melodrama. The film's selective translation of how people live their lives in a particular social situation is thereby discussed as a further translation into the broader discourses of gender and power relations in a society.
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Steffens, Jochen. "The influence of film music on moral judgments of movie scenes and felt emotions." Psychology of Music 48, no. 1 (June 26, 2018): 3–17. http://dx.doi.org/10.1177/0305735618779443.
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Music can modulate perceptions, actions, and judgments in everyday situations. The aim of this study was to investigate a potential influence of music on moral judgments in the context of film reception. In the course of an online experiment, 252 participants were assigned to three different experimental conditions (no, positive, or negative music). Participants were requested to assess actions shown in two 2–3-minute audio-visual film excerpts with regard to their perceived moral rightness and to report induced emotions after watching the film clips. Afterwards, they were asked to complete the MFQ-30 questionnaire measuring the foundations of their moral judgments. Results revealed that in one of four cases (i.e. happiness in film excerpt 1), music had a significant effect on recipients’ emotions and also indirectly influenced their moral judgment. In three of four cases, however, the intended emotion induction through film music did not succeed, and thus a significant indirect influence of music on moral judgment was not found. Furthermore, associations between moral foundations, perceived rightness of action, and induced emotions were observed. Future lab studies are indicated to investigate potential moderating influences of the experimental environment on emotion induction through film music.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Thornton, Sarah. "Strategies for reconstructing the popular past." Popular Music 9, no. 1 (January 1990): 87–95. http://dx.doi.org/10.1017/s0261143000003755.
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One of the things that distinguishes music from other forms of popular culture is that its consumption is accompanied by so much comment. Neither TV nor film, for instance, has accrued the volume, diversity or specialisation of the books and magazines devoted to music and read by people without a professional investment. This literature poses particular problems for historians of rock'n'roll, rock and pop. What are its main methods of ordering the popular past? Which musics and events does it privilege? How should scholars read the music press as sources? How can the pop histories contained in New Musical Express, Billboard or The Face be interpreted for histories of pop? This article is derived from work-in-progress concerning the history of discotheques and club cultures from the late 1950s until the present day. As such, it offers no tidy solutions or complete narratives, but rehearses a few dilemmas relevant to writing about popular culture.
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Caston, Emily. "Conservation and curation." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 160–77. http://dx.doi.org/10.33178/alpha.19.14.
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This article identifies and examines the research methods involved in curating a national collection of British music videos for the British Film Institute and British Library in relation to existing scholarship about the role of the curator, the function of canons in the humanities, and the concept of a hierarchy of screen arts. It outlines the process by which a theoretical definition of “landmarks” guided the selection of works alongside a commitment to include a regionally and socially diverse selection of videos to reflect the variations in film style of different music genres. The article also assesses the existing condition of British music video archives: rushes, masters, as well as documents and digital files, and the issues presenting academics and students wishing to study them. It identifies the fact that music video exists in the gaps between two disciplines and industries (popular music studies / the music industry and film and television studies / the screen industries) as an additional challenge to curators of the cultural form, alongside complex matters of licensing and formats.
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Thompson, Brian C. "Zhao Jiping and the sound of resistance in Red Sorghum." Studia Musicologica 56, no. 4 (December 2015): 355–66. http://dx.doi.org/10.1556/6.2015.56.4.5.
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Since seizing power in 1949, China’s Communist Party has exerted firm control over all aspects of cultural expression. This policy took its most radical turn in the mid-1960s when Mao Zedong launched the Cultural Revolution (1966–1976), aiming to rid the country of bourgeois elements. The composer Zhao Jiping was a student at the Xi’an Conservatory during this period. He graduated in 1970, but was able to continue his studies only when the Central Conservatory reopened in 1978. On completing his studies, he established himself as a composer of folk-inspired music for film and the concert stage. This paper focuses on Zhao’s score for director Zhang Yimou’s Red Sorghum (Hong gao liang, 1987), a film based on the 1986 novel by 2012 Nobel laureate Mo Yan. While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern (1991) and Farewell, My Concubine (1993), and achieve success as a composer of concert music. The paper connects Zhao’s musical language to the impact of the Cultural Revolution by examining how in Red Sorghum his music was employed to evoke a virile image of rural China.
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Cooper, B. Lee. "Country Music—A Film by Ken Burns: The Soundtrack." Popular Music and Society 43, no. 4 (November 8, 2019): 465–67. http://dx.doi.org/10.1080/03007766.2020.1689479.
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Fleeger, Jennifer. "Off Key: When Film and Music Won't Work Together." Popular Music and Society 32, no. 5 (December 2009): 675–78. http://dx.doi.org/10.1080/03007760902786371.
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Messenger, Cory. "Record Collectors: Hollywood Record Labels in the 1950s and 1960s." Media International Australia 148, no. 1 (August 2013): 118–26. http://dx.doi.org/10.1177/1329878x1314800113.
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The affiliation between film and music is the cornerstone of modern entertainment industry synergy. This article examines one of the key chapters in that relationship: the period in the 1950s during which the major studios entered the record business. Ostensibly designed to capitalise on the emerging film soundtrack market, the flurry of mergers, acquisitions and the establishment of new record labels coincided with the rise of rock‘n’ roll and the explosion of the market for recorded popular music. The studios quickly found that in order to keep their record labels afloat, they needed to establish a foothold in popular music. The processes by which they achieved this transformed the marketing of recorded music, sparking a period of unprecedented commercial success for the record industry in the late 1960s. Simultaneously, from these record subsidiaries Hollywood learned how to market cinema to a youth audience, heralding the arrival of ‘New Hollywood’.
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Tan, Siu-Lan, Matthew P. Spackman, and Elizabeth M. Wakefield. "The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene." Music Perception 34, no. 5 (June 1, 2017): 605–23. http://dx.doi.org/10.1525/mp.2017.34.5.605.
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Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegeticmusic (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.
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WHITE, DANIEL. "One Does Not Simply Walk into Mordor." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (December 1, 2020): 93–117. http://dx.doi.org/10.3828/msmi.2020.7.
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The opening sequences of narrative films are perhaps the most important moments for establishing a coherent film-world and drawing a viewer into a space and time often quite different from their own, and yet these moments remain largely untheorised within film studies and film music theory in particular. This article analyses the uses of music and sound in the opening sequences of Peter Jackson’s Middle-earth trilogies: The Lord of the Rings (2001-2003) and The Hobbit (2009-2011). The paratextual nature of opening sequences might lead us to understand them as theoretical gateways or airlocks, but it is the psychoanalytical concept of suture that proves most effective in theorising music’s dual roles in drawing an audience into a film-world and simultaneously building that world around them. This paper’s motivic and harmonic investigation draws particularly on Scott Murphy’s theories of transformational analysis to understand the different ways that musical language can be established as a form of cinematic suture.
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Wright, H. Stephen, and Martin Miller Marks. "Music in the Silent Film: Contexts and Case Studies, 1895-1924." Notes 55, no. 1 (September 1998): 118. http://dx.doi.org/10.2307/900371.
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Winters, Ben. "The Oxford Handbook of Film Music Studies. Ed. By David Neumeyer." Music and Letters 97, no. 1 (February 2016): 185–88. http://dx.doi.org/10.1093/ml/gcv110.
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SARRAZIN, NATALIE. "Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film." Popular Music 27, no. 3 (October 2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.
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AbstractIn Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora?Beginning with an examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes.Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.
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Talarczyk, Monika. "The Other Sex of Polish Cinema. The Contribution of Female Filmmakers to Feature Film Production in the People’s Republic of Poland." Panoptikum, no. 23 (August 24, 2020): 24–42. http://dx.doi.org/10.26881/pan.2020.23.02.
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The paper is dedicated to the Polish female filmmakers – contributors to feature film production from the period 1945–1989 in the Polish state film industry. The theoretical framework is based on women’s studies and production studies. Author presents and comments on the numbers from the quantitative research, including credits of feature films production, divided into key positions: director, scriptwriter, cinematographer, music, editor, production manager, set designer and assistant director, costume designer. The results are presented in graphics and commented in 5 years blocs. The analysis leads to the conclusions describing the specificity of emancipation in socialist Poland in the area of creative work.
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ALLEN, DAVE. "Feelin' bad this morning: why the British blues?" Popular Music 26, no. 1 (January 2006): 141–56. http://dx.doi.org/10.1017/s0261143007001183.
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This paper considers the Mike Figgis film Red, White & Blues as a history of blues music in Britain. The film was produced as part of a series celebrating the centenary of the blues, and not unnaturally its British focus begins with the 1950s and 1960s. The paper argues, however, that it is an incomplete history because it fails to consider how the British blues genre and scene developed subsequently. It also argues that the film focuses too much on the memories and performances of the musicians. It fails to consider the industrial context in which any ‘new’ genre can emerge, and pays almost no attention to the role of its consumers, the audiences and fans across the country that were an integral part of its development. The paper suggests that research into that aspect of the British blues scene would complement the various documentary accounts of the music and musicians.
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Hunter, Aaron. "When is the now in the here and there? Trans-diegetic music in Hal Ashby’s Coming Home." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 36–48. http://dx.doi.org/10.33178/alpha.3.03.
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While it would be a stretch to classify Hal Ashby as a postmodernist filmmaker (with that term’s many attendant ambiguities), his films of the 1970s regularly evince post-Classical stylistic and narrative strategies, including non-linear time structures, inter-textual self-references, open endings, and nuanced subversions of the fourth wall. Ashby’s most consistently playful approach to form comes by way of his integration and development of trans-diegetic musical sequences within his body of work. Music in Ashby films creates a lively sense of unpredictability, and each of his seven films of the 1970s employs this strategy at least once. Moreover, trans-diegetic music in Ashby’s films becomes a device that allows the director to elide moments in time. It functions as an editing tool, creating a bridge between often disparate events. However, it is also a narrative device that both compresses and stretches time, allowing for an on-screen confluence of events that at first appear to take place simultaneously or sequentially, but which actually occur over different moments or lengths of time. Yet while Ashby is not alone as a Hollywood director interested in exploring the formal possibilities that trans-diegesis might bring to his movies, film studies has begun only relatively recently to explore and analyse this technique. After briefly discussing the current critical discussion of trans-diegetic music and explicating patterns of its use in Ashby’s career, this paper explores an extended display of the strategy in the film Coming Home (1978). By interrogating its use as both narrative device and formal convention in this instance, the paper attempts both to understand trans-diegesis as a key component of Ashby’s filmmaking style and also to forge ahead in expanding the discussion of trans-diegesis within film studies.
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Sylvanus, Emaeyak Peter, and Obiocha Purity Eze-Emaeyak. "The business of film music in mainstream Nollywood: competing without advantage." Journal of Cultural Economy 11, no. 2 (December 28, 2017): 141–53. http://dx.doi.org/10.1080/17530350.2017.1409131.
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Sergeeva, Tatiana S. "Characteristics of Traditional Aesthetics in the Film Music of the Far East Countries." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 67–77. http://dx.doi.org/10.17816/vgik10367-77.
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Revealing the role of esthetic space where the film director works and its significance for creating the audiovisual synthesis of the film, the article studies the inextricable connection of music with the traditional esthetics in the cinema of the Far East countries.
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Austin, Guy. "The stink of the sacred: A Bataillean reading of Gainsbourg’s film Je t’aime moi non plus." French Cultural Studies 30, no. 1 (February 2019): 34–43. http://dx.doi.org/10.1177/0957155818810675.
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Although best known for his music, Serge Gainsbourg also starred in and directed several films. This article considers his directorial debut, Je t’aime moi non plus (1976) through the optic of Georges Bataille’s theorisation of the sacred and the heterogeneous. According to Bataille, bourgeois capitalism is characterised by material and moral values, respect for work and homogeneity. Against this he posits the outsider values of the sacred. Where capitalism is predicated on production and accumulation, the heterogeneous is defined by unproductive expenditure, such as sexual play, art and sacrifice. These values are applied to Gainsbourg’s image, his alter ego ‘Gainsbarre’, and his artistic output, before focusing on the 1976 film. Conclusions are made regarding the film, plus Gainsbourg’s status as an exemplar of Bataillean values, celebrated in his fans’ curation of his memory on YouTube.
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LETTS, MARIANNE TATOM. "Sky of blue, sea of green: a semiotic reading of the film Yellow Submarine." Popular Music 27, no. 1 (December 13, 2007): 1–14. http://dx.doi.org/10.1017/s026114300800144x.
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AbstractThe Beatles’ film Yellow Submarine (1968) reflects conflicts between conventional society, represented by classical music, and rebellious youth culture, represented by other musical types, such as folk and pop (subsumed under the term ‘vernacular’). Taking their inspiration from the song ‘Yellow Submarine’ (Revolver, 1966), the filmmakers created a narrative for a psychedelic ‘hero’s journey’ from existing Beatles songs. This article discusses how the musical codes that symbolise different groups are used to mediate between divergent elements in both the film and contemporary society, by referring to such elements beyond the film as the Beatles’ comprehensive body of songs (which in itself forms a kind of mythology) and cultural events of the time. In Yellow Submarine, the Blue Meanies imprison Pepperland by immobilising all producers of music, whether ‘classical’ (the string quartet led by the elderly Lord Mayor) or ‘vernacular’ (Sgt. Pepper’s Lonely Hearts Club Band). The Beatles are able to free Pepperland by manipulating and ultimately uniting the musical codes – an idealistic message for the ‘real world’ to heed.
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BRAMI, THOMAS. "Integrated Soundtracks, Sergei Eisenstein, and Man-Eating Mermaids that Sing." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 3–21. http://dx.doi.org/10.3828/msmi.2020.2.
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This article analyses the relationship between integrated soundtracks and genre through an examination of The Lure (2015). I discuss the filmmakers’ collaborative practice, and identify how the film integrates music, sound, and image in order to manipulate the codes of horror, fantasy, and the musical in a seamless and cohesive way. As well as positioning this practice within contemporary trends, this article also finds a historical precedent in Sergei Eisenstein’s writings and films. First, I chart the overlaps between Eisenstein and composer Sergei Prokofiev’s fluid collaborative working methods and those of The Lure’s filmmakers. Second, I use Charles Morris’s semiotics to account for the generation of meaning in The Lure as well as Eisenstein’s films at the level of semantics, syntax, and pragmatics. Reading Eisenstein’s methods and his films’ intended meanings through The Lure and vice-versa helps illuminate the relationship between craft and form as it pertains to classical (music-sound-image relations) as well as contemporary (the rise of integrated soundtracks and genre experiments) research questions in film studies.
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Yeung, Lorraine. "Spectator Engagement and the Body." Film Studies 15, no. 1 (2016): 81–96. http://dx.doi.org/10.7227/fs.0002.
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This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.
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HENSON, KAREN. "Black Opera, Operatic Racism and an ‘Engaged Opera Studies’." Journal of the Royal Musical Association 146, no. 1 (May 2021): 219–30. http://dx.doi.org/10.1017/rma.2020.27.
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Naomi André’s Black Opera: History, Power, Engagement is a call for recognition and inclusion. Over the course of nearly 300 pages, André covers a range of subjects, from long-forgotten concert performances, to opera, Broadway and opera film, to contemporary operatic composition and practice. As she does, she moves between the United States and South Africa – a striking way of approaching her material and a feature of the book that ought to prove highly influential. Some of the arguments she makes are new, some combine pre-existing thought and research in new ways. The most important moments, though, are when she pauses to describe her experiences or those of another black opera lover or group of black opera lovers.
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Huckvale, David. "Twins of Evil: an investigation into the aesthetics of film music." Popular Music 9, no. 1 (January 1990): 1–35. http://dx.doi.org/10.1017/s0261143000003718.
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If you are a movie fan (and who isn't) you may sit in a movie theatre three times a week listening to the symphonic background scores which Hollywood composers concoct. What happens? Your musical tastes become moulded by these scores, heard without knowing it. You see love, and you hear it. Simultaneously. It makes sense. Music suddenly becomes a language for you, without your knowing it. (Thomas 1973, p. 171).
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Anderson, Laura. "Sonic ‘Detheatricalization’: Jean Cocteau, Film Music, and ‘Les Parents Terribles’." Music and Letters 100, no. 4 (November 1, 2019): 654–84. http://dx.doi.org/10.1093/ml/gcz081.
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Abstract Jean Cocteau’s adaptation of his controversial play Les Parents terribles for the screen stands out in his oeuvre as an attempt to reconcile theatre and cinema. It also presented a challenge in preparing a soundscape for a work that did not have any music in its original form. Parents occupies a unique, Janus-like position in the history of French film music, as forward-looking in its anticipation of New Wave treatment of music as material as it is representative of the turn to adapting stage plays for the screen that started in the 1930s. Drawing on production sketchbooks and testimonies, this article considers the development of Cocteau’s working method and his collaboration with Georges Auric, fuelled by the director’s desire to take control of sonic matters. The resulting employment of a monothematic score was not only a new solution to the famous problem of filmed theatre, ‘detheatricalizing’ Parents sonically and visually, it contributed considerably to the development of Cocteau’s status as film auteur—one whose role now extended to adapting musical material. Furthermore, the effect of this compositional technique in Parents suggests that it can be fruitfully situated in relation to recent work in film music studies on issues of anempathetic scoring practices.
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Roe, Keith, and Monica Löfgren. "Music video use and educational achievement: a Swedish study." Popular Music 7, no. 3 (October 1988): 303–14. http://dx.doi.org/10.1017/s0261143000002968.
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Almost since their inception film and television have employed music as background accompaniment. Despite this obvious fact, the significance of such musical accompaniment has been underestimated by most researchers (see Tagg 1979). The contemporary conjunction of video technology, communication satellites and cable-TV has created a media environment in which television featuring music videos has thrived, and in which media researchers are no longer able to ignore the synchronisation of aural and visual content. While the idea of synchronising musical and visual presentation is itself not new (see Aufderheide 1986), its realisation in the modern music video presents those seeking to describe and explain media behaviour with a new set of problems and tasks.
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Verboord, Marc, and Amanda Brandellero. "The Globalization of Popular Music, 1960-2010: A Multilevel Analysis of Music Flows." Communication Research 45, no. 4 (January 13, 2016): 603–27. http://dx.doi.org/10.1177/0093650215623834.
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This study offers a cross-national multilayered analysis of music flows between 1960 and 2010. Advancing on previous empirical studies of cultural globalization, it attends to the global and country level, while adding the individual level of music flows. Concretely, the authors analyze the international composition of pop charts in nine countries by (a) mapping trends, (b) comparing countries, and (c) conducting multivariate analyses. The results show that pop charts increasingly contain foreign music, with the exception of the United States. Explanatory analyses of foreign success confirm that limited cultural distance results in greater flow as found in film and television studies, while revealing additional positive impacts of centrality of production (e.g., artists from more “central” countries in music production are more likely to chart abroad) and the “star power” of artists. Both the innovative methodological approach and findings of this article offer promising research avenues for globalization, media industry, and celebrity studies.
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Toynbee, J. "Off Key: When Film and Music Won't Work Together." Screen 50, no. 4 (December 1, 2009): 471–73. http://dx.doi.org/10.1093/screen/hjp041.
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Frith, Simon. "Copyright and the music business." Popular Music 7, no. 1 (January 1988): 57–75. http://dx.doi.org/10.1017/s0261143000002531.
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For the music industry the age of manufacture is now over. Companies (and company profits) are no longer organised around making things but depend on the creation of rights. In the industry's own jargon, each piece of music represents ‘a basket of rights’; the company task is to exploit as many of these rights as possible, not just those realised when it is sold in recorded form to the public, but also those realised when it is broadcast on radio or television, used on a film, commercial or video soundtrack, and so on. Musical rights (copyrights, performing rights) are the basic pop commodity and to understand the music business in the 1980s we have to understand how these rights work. In this article, then, I begin and end with record companies' uses of copyright law and ideology to defend themselves against current technological and political threats to income, but I also want to ask questions about how the law itself defines music and determines the possibilities of musical ‘exploitation’. And this means putting contemporary arguments (for and against the blank tape levy, for example) in historical perspective.