Relevant bibliographies by topics / Film soundtracks

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film soundtracks'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Film soundtracks"

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Marshall, Sandra K., and Annabel J. Cohen. "Effects of Musical Soundtracks on Attitudes toward Animated Geometric Figures." Music Perception 6, no. 1 (1988): 95–112. http://dx.doi.org/10.2307/40285417.

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We investigated the effects of musical soundtracks on attitudes to figures in a short animated film. In a preliminary study and in the main experiment, subjects saw the film accompanied by one of two soundtracks or with no soundtrack, or they heard one of the two soundtracks alone. In the main experiment, Semantic Differential judgments on Activity and Potency dimensions, obtained for the music, predicted effects of the soundtracks on corresponding ratings of the film as compared to ratings in a no soundtrack condition. As well, ratings on the Activity dimension of the film characters themselves were altered by the soundtracks. It is hypothesized that congruent auditory and visual structure directs the encoding of particular visual features of the film. In addition, associations generated by the music provide a context for the interpretation of the action in the film. As a result, stimulus features and concepts that are initially encoded as disjunctive conjoin in perception and memory.
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Lee, Jonathan Rhodes. "Texts, Drugs, and Rock ’n’ Roll." Journal of Musicology 38, no. 3 (2021): 296–328. http://dx.doi.org/10.1525/jm.2021.38.3.296.

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Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.
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He, Zhanlu. "The Traditional Chinese Music Elements in the Soundtracks of the Film Full River Red." Journal of Education, Humanities and Social Sciences 35 (July 4, 2024): 640–46. http://dx.doi.org/10.54097/kabdng45.

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The film Full River Red is a new masterpiece of director Yimou Zhang on the theme of "Family and Country Sentiment", which got a great response when it was exhibited in cinemas, and its soundtrack also aroused public discussion. It was nominated for the best music in the 36th networking. This paper focuses on the soundtrack of the film, from the perspectives of Chinese traditional Xiqu, plot characters, the use of musical instruments, and the fusion of multiple musical styles. How the Chinese traditional music is integrated into the soundtracks, and how the resulting cultural symbols are used in the films will be discussed. It is expected that this paper can provide some inspiration for the forms of innovation in the development of Chinese traditional music, as well as the stylistic innovation of Chinese film soundtracks.
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REDFERN, NICK. "Sound in Horror Film Trailers." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.

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In this paper I analyse the soundtracks of fifty horror film trailers, combining formal analysis of the soundtracks with quantitative methods to describe and analyse how sound creates a dominant emotional tone for audiences through the use of different types of sounds (dialogue, music, and sound effects) and the different sound envelopes of affective events. The results show that horror trailers have a three-part structure that involves establishing the narrative, emotionally engaging the audience, and communicating marketing information. The soundtrack is organised in such a way that different functions are handled by different components in different segments of the soundtrack: dialogue bears responsibility for what we know and the sound for what we feel. Music is employed in a limited number of ways that are ironic, clichéd, and rarely contribute to the dominant emotional tone. Different types of sonic affective events fulfil different roles within horror trailers in relation to narrative, emotion, and marketing. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on the reactions of characters in horror trailers and the presence of nonlinear features in the sound design of affective events.
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Marez, Curtis. "Subaltern Soundtracks." Aztlán: A Journal of Chicano Studies 29, no. 1 (2004): 57–82. http://dx.doi.org/10.1525/azt.2004.29.1.57.

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This essay suggests that the postrevolutionary Mexican presence in Los Angeles profoundly influenced the emergence and consolidation of film and other media there. In the 1930s, Anglo Americans and Mexicans were in conflict and competition over how to use new forms of audio mass media such as radio and sound films. Mexican movie programmers and audiences in Los Angeles appropriated early sound films in ways that addressed immigrant concerns and contradicted emergent Hollywood norms of exhibition and spectatorship. Mainstream responses to such practices suggest that dominant uses of sound in film exercised an ideological police power that was ultimately aimed at symbolically containing Mexican dissent.
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SEHMAN, STEVEN, and NIALL Ó MURCHÚ. "Scoring the Nation." Music, Sound, and the Moving Image 18, no. 1 (July 2024): 29–52. http://dx.doi.org/10.3828/msmi.2024.4.

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This article analyses how transnational co-productions render Irish history audio-visually by comparing the soundtracks of Some Mother’s Son (1996) and The Wind that Shakes the Barley (2006). The puzzle is whether history films can enhance immersive perceptual experiences of place by using local music, while catering to the audiovisual skills and expectations of global audiences. The study compares Bill Whelan’s and George Fenton’s respective soundtracks. On the one hand, Whelan’s avowedly Irish soundtrack performed by the Irish Film Orchestra with virtuosos from the Riverdance Orchestra crowds the images and prescribes audience feelings. On the other, Fenton lightly melds classical film orchestration with Irish melody and instrumentation and The Wind that Shakes the Barley blends diegetic singing with its more spacious soundtrack. The conclusion is that combining local instruments and diegetic song with limited cinematic orchestration succeeds better than neo-traditional instrumentation in screening Irish history.
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Camillone, Elise. "How Wagner Landed in a Far Away Galaxy: Examining Film from a Musical Perspective." Musical Offerings 14, no. 2 (2023): 67–77. http://dx.doi.org/10.15385/jmo.2023.14.2.2.

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What does music add to drama, or more specifically, movies? Without music, movies today would not be the same. When it comes to creating a film, the soundtrack is arguably just as important as videography or acting. Exploring the roots that soundtracks have in opera and investigating Wagner’s leitmotif will help discover how it influenced modern-day movie scoring. Furthermore, a deeper understanding of filmmaking can be obtained by examining the role music has to play in modern movies. The soundtracks from the original Star Wars trilogy films can be used to demonstrate the application of these things by looking deeply into how each theme is formed and how each one shapes the characters it represents as well as the story that is portrayed in a film.
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Yunyk, Tetiana, and Mykola Tsarev. "Soundtrack in Modern Cinema." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 67–77. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235086.

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The purpose of the research is to analyze popular examples of modern cinema music to determine the features of its interaction with various elements of screen text, taking into account the applied nature and applying various relevant approaches to the study of soundtracks. The research methodology consists in the application of a set of methods for theoretical analysis of film music, their interaction with internal and external factors of influence on the formation of the viewer’s image-emotional sphere in conditions of purposeful perception of the storyline of modern cinema. The scientific novelty lies in the fact that for the first time the peculiarities of the music functioning in modern cinema were analyzed, the main trends in the development of film music in the socio-cultural conditions of our time were revealed, and film music from the perspective of the viewer as a “non-ideal” evaluator of soundtracks in modern cinema was also considered. Conclusions. The article, using various methodological approaches, has proved that film music in the framework of interaction with screen text manifests itself as a significant tool, expanding the artistic space of the film. Film music can go beyond direct acoustic information, reflecting the narrative and conceptual components of the work of art as a whole. A practical example of the manifestation of modern film music is the use of timbral colours as an instrument for revealing the context of events, time, and the image of a hero; leitmotif; experiments with the technical side of sound through the expansion of the imaginary space of the screen. The main trends in the development of film music in the socio-cultural conditions of our time are due to the release of soundtracks beyond the boundaries of a practical film instrument. The modern soundtrack occupies a significant part of the cultural space of music and culture in general. This position is facilitated by the composer’s conceptual approach, the style integrity of the work and the relative independence of the soundtrack in the general cultural space. The rating of soundtracks is given by the audience and depends on their aesthetic preferences and the level of musical “experience”. Soundtracks must meet the requirements of modern cinema and common cultural space, which contributes to the success of the film.
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Rendell, James. "In awe of scores and roars: Audience phenomenological fragmentation between screen and soundtrack." Soundtrack, The 14, no. 1 (June 1, 2023): 51–67. http://dx.doi.org/10.1386/ts_00021_1.

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Addressing audiences’ enthrallment with film soundtracks that complicate existing notions of cinema immersion, this article offers the original concept of phenomenological fragmentation. To do so, the article considers soundtracks as mnemonic devices and affective textual components that shape audiences’ identities. Additionally, whilst multiplex viewing theatres and technologies endeavour to disembody audio media production and shroud crowds in darkness, the article explores alternative cinematic environments that support phenomenological fragmentation. This is then applied to concert movies as a particular form of event-based experiential cinema where screenings are accompanied with an orchestra that play the soundtrack live. The article then focuses on Jurassic Park ‘Live in Concert’ as a case study of this. Thirteen concert attendees were interviewed, evidencing myriad instances of phenomenological immersion and fragmentation that are shaped by autobiographical histories with the film and the novel exhibition context. Resultantly, the research provides the much-needed empirical audience data to film music studies and expands the study of experiential cinema.
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Hillman, Roger. "Cultural Memory on Film Soundtracks." Journal of European Studies 33, no. 3-4 (December 2003): 323–32. http://dx.doi.org/10.1177/0047244103040421.

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Dissertations / Theses on the topic "Film soundtracks"

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Soulodre, Gilbert A. "Adaptive methods for removing camera noise from film soundtracks." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0017/NQ55423.pdf.

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Levy, Michelle. "Nostalgia and renewal : the soundtracks of Rushmore and High Fidelity." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98551.

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This thesis is an analysis of two film soundtracks, High Fidelity and Rushmore, and how each conforms to, and moves away from, trends in soundtrack production. The analysis begins by examining the relationship between film and music through the progression of key figures and moments leading to the current state of the film soundtrack. The soundtracks of High Fidelity and Rushmore are situated within the contexts of youth and rock culture as a means of illuminating their compilations and prospective audiences. The conclusion of this thesis is that these particular films and their soundtracks are entrenched in a dialogue about nostalgia and the superiority of archival music and provide clear examples of the growing use of nostalgia within cultural contexts generally.
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Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.

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Wingler, Peter A. "The narrative force of sound." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337641.

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This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that using the principles of Schema Theory enables sound designers to maximize the narrative impact that sound design has over a broad audience.
Department of Telecommunications
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Lin, Zhichun. "Hearing Their Stories Through Polyphonic Soundtracks: Women and Music in Contemporary Chinese Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374231964.

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McCann, Mark. "Penser l'écran sonore les théories du film parlant /." Click here to access, 2006. http://thesis.library.adelaide.edu.au/public/adt-SUA20070320.161033/index.html.

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DeGalan, Anna Jean. "Crescendos of the Caped Crusaders: An Evolutionary Study of Soundtracks From DC Comics' Superheroes." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1598268218822254.

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Schofield, Guy Peter. "Soundtrack-controlled cinematographic systems." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2422.

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Jewell, Michael O. "Motivated music : automatic soundtrack generation for film." Thesis, University of Southampton, 2007. https://eprints.soton.ac.uk/263924/.

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Automatic music composition is a fast-moving field which, from roots in serialism, has developed techniques spanning subjects as diverse as biology, chaos theory and linguistic grammars. These algorithms have been applied to specific aspects of music creation, as well as live performances. However, these traditional approaches to generation are dedicated to the creation of music which is independent from any other driving medium, whereas human-composed music is most often written with a purpose or situation in mind. Furthermore, the process of composition is naturally hierarchical, whereas the use of a single algorithm renders it a monolithic task. In order to address these issues, a model should be able to encapsulate a sense of composer motivation whilst not relying on a single algorithm for the composition process. As such, this work describes a new framework with the ability to provide a means to generate music from film in a media-driven, distributed, manner. This includes the initial annotation of the media using our new OntoMedia ontology; the mapping of annotated information into parameters suitable for compositional algorithms; the design and implementation of an agent framework suitable for the distribution of multiple composing algorithms; and finally the creation of agents capable of handling the composition of musical elements such as rhythm and melody. In addition, a case study is included which demonstrates the stages of the composition process from media annotation to automatic music generation.
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Lewis, Hannah Rose. "Negotiating the Soundtrack: Music in Early Sound Film in the U.S. and France, 1926-1934." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11376.

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This dissertation examines music's role in cinema in the early years of synchronized sound film in the United States and France. Working against the historical and technological determinism that often plagues narratives of the transition to sound, I investigate the myriad ways in which directors, producers, and composers approached the new technology. Films acted as artistic manifestoes on the new technology and its aesthetic potential as filmmakers experimented with the musical soundtrack. Through multi-site archival research and close analyses of films and their music, I point to the heterogeneity of film music practices during synchronized sound's nascent years, considering early sound films as sites of aesthetic contestation and negotiation.
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Books on the topic "Film soundtracks"

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Bloch-Robin, Marianne. Carlos Saura: Paroles et musique au cinéma. Villeneuve d'Ascq: Presses universitaires du Septentrion, 2018.

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Reay, Pauline. Music in film: Soundtracks and synergy. London: Wallflower, 2004.

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Mark, Slobin, ed. Global soundtracks: Worlds of film music. Middletown, Conn: Wesleyan University Press, 2008.

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Şipa, Alexandru. Adrian Enescu 4ever. Bucureşti: Tracus Arte, 2017.

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Rose, Jay. Producing great sound for film and video. 3rd ed. Burlington, MA: Elsevier, Focal Press, 2008.

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Rose, Jay. Producing great sound for film and video. 3rd ed. Burlington, MA: Elsevier, Focal Press, 2008.

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Rose, Jay. Producing great sound for film and video. 3rd ed. Burlington, MA: Elsevier, Focal Press, 2008.

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Williams, John. Star wars, episode I, the phantom menace: Original motion picture soundtrack. New York: Sony Classical, 1999.

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Mothersbaugh, Mark. The life aquatic with Steve Zissou: Original soundtrack. Burbank, CA: Hollywood Records, 2004.

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Tan, Dun. Crouching tiger, hidden dragon: Original motion picture soundtrack. New York: Sony Classical, 2000.

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Book chapters on the topic "Film soundtracks"

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Mangion, Suzy. "Readymade Soundtracks." In The Routledge Companion to Global Film Music in the Early Sound Era, 158–67. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-11.

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Gómez, Lidia López. "Soundtracks for the Republic." In The Routledge Handbook to Spanish Film Music, 45–56. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003174974-6.

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Johnston, Nessa. "Unlearning Film School: The ‘lo-fi’ Soundtracks of Joe Swanberg." In The Palgrave Handbook of Sound Design and Music in Screen Media, 289–304. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_20.

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Motazedian, Táhirih. "Tonal Analysis of the Integrated Soundtrack." In Film Music Analysis, 156–72. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003001171-8.

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Sisto, Antonella C. "The Soundtrack after Fascism: The Neorealist Play without Sound." In Film Sound in Italy, 79–111. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137387714_5.

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Viñuela, Eduardo. "The soundtrack of the barrio in contemporary Spanish cinema." In The Routledge Handbook to Spanish Film Music, 274–83. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003174974-28.

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Hartstone, Graham, and Tony Spath. "Film." In Sound Recording Practice, 545–65. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163817.003.0028.

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Abstract This chapter looks at the many aspects of film sound, from recording and mixing through to the finished soundtrack as it is exhibited in the cinema. Almost all high-quality film soundtracks today are mixed for a stereo variable-area optical soundtrack that can reproduce four channels of sound in the cinema, Left, Centre, Right, and Surround (LCRS). By far the most widely used system for this is Dolby Stereo. Therefore this chapter mainly describes the stages used in the production and exhibition of Dolby Stereo soundtracks. Digital soundtracks are now a reality in cinemas, and these are also discussed, although it will be very many years before they reach the world-wide saturation of analogue optical soundtracks on 35-mm film. Compatible digital/analogue prints will therefore be with us for the foreseeable future.
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Decker, Todd. "Soundtracks and Scores." In Hymns for the Fallen. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520282322.003.0003.

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This chapter describes the large-scale narrative and musical patterns of serious Hollywood combat films made after Vietnam. Two larger narrative shapes are identified: two-part forms (such as training camp followed by battlefield) and alternating action-reflection forms. Then, the overall shape and content of combat film musical scores are described in a comparative context. Four strategies for the use of music in war films are described: films with very little music of any sort, films which alternate between scored and unscored scenes (Saving Private Ryan), music-laden films with music noticeably present much of the time (Born on the Fourth of July), and films with almost continuous music. The frequently blurry distinctions between sound effects and music, the role of popular music (Full Metal Jacket), the importance of diegetic silence, the ambiguous authorship of some film scores (Apocalypse Now, The Hurt Locker), and the shifting nature of the soundtrack mix are also considered.
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"Soundtracks: Using Music in Film." In The Film Handbook, 245–68. Routledge, 2013. http://dx.doi.org/10.4324/9780203146446-30.

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Carlson, Gretchen L. "“Not a Lot of People Would Go for That”." In Improvising the Score, 48–73. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496840721.003.0003.

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Chapter 2 investigates the rarest form of film soundtrack – the improvised score. It goes behind-the-scenes of two very different improvised soundtrack productions: Antonio Sanchez’s percussion score for Alejandro González Iñárritu’s Birdman (2014), and Mark Isham’s small-group jazz score for Alan Rudolph’s Afterglow (1997). In both examples, the directors associate improvisation with the authenticity of “real life” (i.e., improvising one’s way through it), therefore explicitly choosing improvising jazz musicians to create soundtracks that sonically evoke the “authentic experience” they attempt to feature in their films. Reading against the concept of filmmaking risk, this chapter illustrates how these scores’ production methods significantly uprooted conventional film-scoring practices, generating rare opportunities for the film composers’ creative agency.
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Conference papers on the topic "Film soundtracks"

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Xu, Kexuan. "Analysis of the Roles of Film Soundtracks in Films." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.071.

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Beveridge, Scott. "A novel approach for time-continuous tension prediction in film soundtracks." In the 7th Audio Mostly Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2371456.2371465.

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Gillick, Jon, and David Bamman. "Telling Stories with Soundtracks: An Empirical Analysis of Music in Film." In Proceedings of the First Workshop on Storytelling. Stroudsburg, PA, USA: Association for Computational Linguistics, 2018. http://dx.doi.org/10.18653/v1/w18-1504.

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Burred, Juan Jose, and Pierre Leveau. "Geometric multichannel common signal separation with application to music and effects extraction from film soundtracks." In ICASSP 2011 - 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946375.

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Liu, Shan, Jiayuan Zhang, Mingyang Liu, Yu Guo, Jiaqi Guo, and Jiacheng Cai. "Soundtrack Matching and Recommendation System of Film and TV Series." In 2020 13th International Congress on Image and Signal Processing, BioMedical Engineering and Informatics (CISP-BMEI). IEEE, 2020. http://dx.doi.org/10.1109/cisp-bmei51763.2020.9263604.

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Olărescu, Dumitru. "The Universe of the Book in Cinematographic Expression." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.08.

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Over the years, the book, as an object of spirit, has always been elevated to the rank of symbol, metaphor or even archetype. All these concepts about the book challenged many scientists, people of art and culture, including documentary filmmakers. In the cinematic discourse, thanks to its important components (image, soundtrack), the book obtains spatial dimensions, but also sound – a process, which deepens the ideational background, facilitates the assimilation and valorization of the book’s content. The film “The Light of the Book” (screenplay by Nicolae Dabija and Pavel Bălan, directed by Mircea Chistrugă, image by P. Bălan) about the fate, often dramatic, of many old books, and the film “Anastasie Crimca” (author Pavel Bălan), dedicated to the famous calligrapher and book miniaturist, Metropolitan Anastasie Crimca, will serve as arguments for these ideas. Thus, we will try to demonstrate the possibilities of documentary film in “bringing” home our old books, scattered for various reasons around the world, and their valorization as an important component of the spiritual heritage of the nation.
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Uya, Yifan. "Collaborative Vibration: The Mythic Journey of A Coal Boy." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.119.

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Acknowledging the Anthropocene crisis, my research examines myth and myth-making to reimagine the role of Claude Lévi-Strauss’ bricoleur concept. Following Joseph M. Coll’s Taoist and Buddhist systemic thinking inspired theory of sustainable transformation, the practice-led project evolves into the making of an essayist film that conveys a specific personal myth.My research reckons that a bricoleur should perceive myth-making as an organic growing organisation that acquires intuition and posteriori knowledge. And focus on a narrative that evolves into the mythic identity of a piece of coal and a bar-tailed godwit corresponding to designated oppositional values and semiotic assets. Apart from the practitioner works of Stan Brakhage, Chris Marker and Adam Curtis, my research also dives into Elysia Crampton Chuquimia, Howie Lee and Yaksha‘s musical languages to explore the other narrative possibilities when re-examining history in a socially conscious manner. As the film soundtrack is also part of the myth-making production. My practice-led project inevitably evolves into the subject of the self as the production presents a negotiation through metaphors and signifiers concerning memory, history and experience. The filmmaking echoes a search for the wisdom of self-acceptance. It adopts Stephen Yablo’s understanding of conceivability to generate and regenerate meaningful assets. Concepts are planted to grow into newer representations compromising posteriori knowledge and self-realisations, with informal syllogistic reasoning concerning the epistemological nature of imagination and the transformative structure of myth. The contextual knowledge of my research examines the subject of myth and myth-making through Jacques Lacan's theory of fantasy, Jungian analytical psychology and Claude Lévi-Strauss knowledge of structural linguistics. It adopts Lévi-Strauss’ canonical myth formula concerning the missing discussion of experience, community, and the wilder contexts of shamanology. Maurice Merleau-Ponty's phenomenological body and Martin Heidegger's thoughts on the philosophy of technology concerning the body-to-technology relation and the notion of symbolic light and darkness. With critics on the instrumentalist stance of technology and Rene Descartes's modal metaphysics concerning Arnold Gehlen’s conservative alert of mankind’s debased condition of modern existence, my research proposes that myth-making is a necessary altruistic form of social technology that can transform experience into wisdom. Acknowledging that will is the priority for behaviour change. The production examines the Dao of myth and myth-making as a specific technological answer to resolve David Attenborough's calling for a global transformation and collaboration in his book A Life of Our Planet. To further develop such a technology, my research seeks a systemic understanding of myth and myth-making. Therefore, my research hypothesis a wholistic and heuristic methodology, namely Daoist bricoleur. By experiencing a personal myth, I celebrate my Manchu and Chinese culture origin and the complexity of my upbringing. My research visits the endangered Manchu Ulabun storytelling tradition and reckons the film production rely on the structural establishment of critical mythic fragments founded on autobiography and social conventions. As a permanent resident of New Zealand born in a coal-mining town in eastern Inner Mongolia, China, with an unverifiable ancestral clan name related to Kangxi, Yongzheng and Qianlong Emperor of the Qing Dynasty and much more.
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