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Journal articles on the topic 'Film soundtracks'
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1
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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Bauermann, Mary Beth. "“Wake Up!” with Narrative Film Music: Optimizing Narrative Power Through Spike Lee’s Compilation Soundtracks of Popular Music." Film Matters 14, no. 3 (December 1, 2023): 7–17. http://dx.doi.org/10.1386/fm_00305_1.
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Filmmaker and director Spike Lee famously features popular music in his films, often incorporating compilation soundtracks that function as sonic narrative devices, sometimes alongside original scores. Through analysis of three of Lee’s films based on true stories—Malcolm X (1992), Crooklyn (1994), and BlacKkKlansman (2018)—and their soundtracks, it is evident that Lee’s use of popular music in his historical films not only situates the works in their respective time periods, but also emphasizes the relevance of each film narrative in American history, both past and present.
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O’Flynn, John. "Blurring the line? Music, sound and “sonic gaze” in post-ceasefire Troubles-themed film." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 223–39. http://dx.doi.org/10.33178/alpha.27.18.
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This article appraises developments in soundtracks of narrative fiction features based on the Northern Ireland Troubles, focusing on selected titles released in the post-ceasefire period that was consolidated by the Anglo-Irish (“Good Friday”) agreement of 1998. It does this with reference to earlier approaches to music and sound for Troubles-themed film, and by drawing on Danijela Kulezic-Wilson’s sound-design-is-the-new-score proposition. The article advances “sonic gaze” as a pertinent critical lens through which to complement artistic appraisals of historical and contemporary soundtracks in light of political and colonial contexts and legacies. In comparison to earlier Troubles-themed film, a small number of narrative fiction features from the turn of the twenty-first century propose alternative positions and/or innovations in their overall sound design. Readings of Resurrection Man (Marc Evans, 1998), Hunger (Steve McQueen, 2008), Five Minutes of Heaven (Oliver Hirschbiegel, 2009) and ’71 (Yann Demange, 2014) interpret several significant soundtrack developments. These arise from the involvement of popular music producers, notably David Holmes, technological affordances (production and postproduction) and alternative artistic perspectives that interrupted a colonial-anthropological sonic gaze. The article concludes that Hunger comes closest to Liz Greene and Kulezic-Wilson’s theorisations on the integrated soundtrack and on narrative film’s potential for achieving a holistic audiovisual musicality.
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Blumstein, Daniel T., Richard Davitian, and Peter D. Kaye. "Do film soundtracks contain nonlinear analogues to influence emotion?" Biology Letters 6, no. 6 (May 26, 2010): 751–54. http://dx.doi.org/10.1098/rsbl.2010.0333.
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A variety of vertebrates produce nonlinear vocalizations when they are under duress. By their very nature, vocalizations containing nonlinearities may sound harsh and are somewhat unpredictable; observations that are consistent with them being particularly evocative to those hearing them. We tested the hypothesis that humans capitalize on this seemingly widespread vertebrate response by creating nonlinear analogues in film soundtracks to evoke particular emotions. We used lists of highly regarded films to generate a set of highly ranked action/adventure, dramatic, horror and war films. We then scored the presence of a variety of nonlinear analogues in these film soundtracks. Dramatic films suppressed noise of all types, contained more abrupt frequency transitions and musical sidebands, and fewer noisy screams than expected. Horror films suppressed abrupt frequency transitions and musical sidebands, but had more non-musical sidebands, and noisy screams than expected. Adventure films had more male screams than expected. Together, our results suggest that film-makers manipulate sounds to create nonlinear analogues in order to manipulate our emotional responses.
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Have, Iben. "The musicalized soundtracks of Armadillo. Emotional realism and real emotions." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 155–70. http://dx.doi.org/10.7146/se.v2i1.5196.
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“To you it’s film, to them it’s reality” is the translated poster headline of the Danish war documentary Armadillo (Janus Metz, May 2010), a much-debated Cannes award-winning film that follows Danish soldiers stationed in Afghanistan. The article uses this headline as a framework for analyzing, comparing and discussing the film’s “musicalized” soundtracks on various media platforms (cinema, YouTube, television, DVD), and it argues that these soundtracks contribute to the viewer’s experience of emotional realism, as well as to an experience of the emotional reality – the soldiers’ or the viewer’s own. The political, journalistic and in particular aesthetic ambitions of producers and directors have contributed to developing Danish documentary films into a successful brand within the last decade. Using examples from the public reception of and debate on Armadillo, the article discusses how this development may have led to an increased emphasis on the emotional impact of musicalized soundtracks and a new premise for documentary reception.
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Crowdus, Miranda. "“Sounds and sweet airs, that give delight, and hurt”." Living Histories: A Past Studies Journal 1 (June 6, 2022): 22–31. http://dx.doi.org/10.24908/lhps.v1i1.15561.
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This article addresses Indigenous film-maker, Lisa Jackson’s, skillful and strategic integration of selections of Western Art Music from the Early and Late Classical period in the soundtracks of her recent films. This strategy draws attention to indigenous perspectives on economic and cultural sustainability, as well as to the threat posed to indigenous continuity by colonialist legacies, past and present. In Jackson’s films, the excerpts from Western Art Music comprising the musical score “takes over” the narrative; their sound is pleasant, but unseen, insidious and triumphant, ultimately a duplicitous and malevolent dominating force. In my view, the selections from Western Art Music function as a metaphor for the unseen, insidious and ever-present forces of colonialism that control the negative behaviors and lives of the indigenous protagonists in the film narrative. This metaphor functions on both macro (formal and performative) and micro (melodic and chordal) levels. On a meta-narratival level, Jackson’s soundtracks draw attention to contemporary audience’s de-sensitization to the use of sonic repertoires in popular cinema and to the normalization of the congruence of sound and musical material and film narrative. Jackson’s adaptation of the musical material suggests that in order to shed colonialist legacies, we must also interrogate their often physical heard, but cognitively and critically unremarked, accompanying soundtracks.
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Bako, Yefya, Dandi Hafiddin, and Feysya Salsabila Ramadhani. "Analyzing 'Himawari No Yakusoku' in 'Stand by Me Doraemon' through film soundtrack and communication theories." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (May 31, 2024): 124–39. http://dx.doi.org/10.17509/interlude.v3i2.71953.
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This study examines the impact of the song "Himawari No Yakusoku" on the narrative and emotional complexity of "Stand by Me Doraemon" using film soundtrack theory and film communication theory. The focus of this inquiry is the incorporation of music into cinematic storytelling in order to elicit emotions and strengthen narrative ideas. The significance of this study arises from the increasing acknowledgment of music's pivotal role in the film, requiring a more profound comprehension of how soundtracks enhance the viewer's experience. This research used a qualitative analytical methodology to investigate the structural components of the song, encompassing its introduction, verses, pre-chorus, chorus, instrumental section, and outro. The analysis utilizes theoretical frameworks from prominent works in the field of film music studies, such as Claudia Gorbman's theory on narrative film music, Kathryn Kalinak's observations on the purposes of film music, and David Neumeyer and James Buhler's debates on the emotional influence of soundtracks. The result suggests that "Himawari No Yakusoku" successfully utilizes important musical methods, including key selection, polyrhythm, thematic recapitulation, and harmonic resolution, to correspond with the emotional and narrative progressions of the film. The song begins with a warm tone in the key of Bb, the verses feature a polyrhythm that adds emotional complexity, the pre-chorus creates anticipation, and the chorus serves as a distinctive leitmotif. The instrumental portion adds introspective complexity, while the outro provides a gratifying conclusion. These features collectively improve the film's narrative, showcasing the song's essential function in influencing the audience's emotional and cognitive reactions.
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Impey, Angela. "Global Soundtracks: Worlds of Film Music." Ethnomusicology Forum 18, no. 1 (June 2009): 170–72. http://dx.doi.org/10.1080/17411910902790424.
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Redfern, Nick. "The Soundtrack of the Sinister Trailer." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (November 1, 2021): 36–51. http://dx.doi.org/10.2478/ausfm-2021-0013.
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Abstract In this article, I analyse the soundtrack of the green band trailer for Sinister (Scott Derrickson, 2012), combining quantitative methods to analyse the soundtrack with formal analysis. I show that, even though Sinister is a narrative about a demon who lives in images, the horror in the soundtrack of this trailer is articulated through the sound design. I describe the structure of the soundtrack and analyse the distribution and organisation of dialogue, the use of different types of sound effects to create a connection between the viewer and the characters onscreen, as well as the use of specific localised sound events to organise attention and to frighten the viewer. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on reactions to a stimulus and the presence of nonlinear features in the sound envelopes of localised affective events. The sound design of this trailer is consistent with the principles of contemporary sound design in horror cinema, but also demonstrates some variation in its use of sound as a paratext to its parent film.
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Sharma, Aparna. "Mark Slobin, ed. (2008) Global Soundtracks: Worlds of Film Music." Film-Philosophy 14, no. 2 (October 2010): 125–30. http://dx.doi.org/10.3366/film.2010.0049.
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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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McCartney, Andra. "Alien intimacies: hearing science fiction narratives in Hildegard Westerkamp's Cricket Voice (or ‘I don't like the country, the crickets make me nervous’)." Organised Sound 7, no. 1 (April 2002): 45–49. http://dx.doi.org/10.1017/s1355771802001073.
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This paper discusses listener responses to a contemporary soundscape composition based on the sound of a cricket. Soundscape composers make works based on everyday sounds and sound environments, usually recorded by themselves (Truax 1984, 1996). While the composer of this piece aims to bring listeners closer to the sounds around them by creating audio pieces based on these sounds (Westerkamp 1988), some listeners feel fear and anxiety rather than the heightened closeness and understanding that she wishes listeners to experience. I compare the sound structure of Cricket Voice with close listening to excerpts of the film soundtrack of Ridley Scott's Alien as well as a short excerpt from the soundtrack of the X Files, discussing how science fiction film and television soundtracks index sonic intimacy with different intent from that of Westerkamp, and raising questions about how such approaches to intimacy might simultaneously reflect and intensify urban anxieties about the sounds of ‘alien’ species that are associated with wilderness environments.
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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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Hassaïne, Abdelâali, Etienne Decencière, and Bernard Besserer. "EFFICIENT RESTORATION OF VARIABLE AREA SOUNDTRACKS." Image Analysis & Stereology 28, no. 2 (May 3, 2011): 113. http://dx.doi.org/10.5566/ias.v28.p113-119.
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The restoration of motion picture films using digital image processing has been an active research field for many years. The restoration of the soundtrack however, has mainly been performed in the sound domain, using signal processing methods, in spite of the fact that it is recorded as a continuous image between the images of the film and the perforations. In this paper a restoration method for variable area soundtrack restoration at the image level is presented. First, a novel method is proposed for the detection of the symmetry axis of the scanned soundtrack. Then, a comparison between the watershed and the region growing segmentation of the soundtrack is developed. Another algorithm aiming to enforce the symmetry and to correct the edges of the segmented image is presented. A last step aiming to smooth the edges of the obtained image is performed. Finally, experimental results are reported and possible future improvements are discussed.
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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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Петрушанская, Е. М. "“On the Meanings of Musical Elements in the Soundtracks of Soviet Comedy Films”." Музыкальная академия, no. 4(784) (December 21, 2023): 30–45. http://dx.doi.org/10.34690/340.
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Статья посвящена обзору музыкального сопровождения отечественных кинокомедий, в первую очередь фильмов Л. Гайдая. В центре внимания — саундтреки короткометражных фильмов 1961 года, созданные композитором Н. Богословским, и лент «Операция “Ы” и другие приключения Шурика», «Кавказская пленница, или Новые приключения Шурика» и «Бриллиантовая рука», музыку к которым написал А. Зацепин. Исследуются жанрово-интонационные черты киномузыки, усиливающие эксцентрику внесловесных иносказаний, открывающие смыслы, часто несозвучные идеологическим установкам той эпохи. Продолжая традиции комических обработок фольклора в русской музыке, кинокомпозиторы юмористически пересматривают известные, вплоть до банальности, песенные образцы. Принципы драматургии саундтреков вторят фельетону. В использовании цитат преобладают девальвация «высоких» заимствований и возвышение «низовых». Автор систематизирует прототипы пародирования, архетипы музыкально-пластических движений. Анализ звукового и зрительного синтеза выявляет не только скрытые смысловые пласты фильма, но и приметы эпохи, нередко далекие от комизма. The article spotlights the musical accompaniment of Soviet comedies, primarily the films of L. Gaidai. The focus is on the soundtracks of short films of 1961, created by composer N. Bogoslovsky, and the films “Operation Y and Shurik’s Other Adventures,” “Kidnapping, Caucasian Style,” and “The Diamond Arm,” the music for which was written by A. Zatsepin. The genre and melodic features of film music are explored, enhancing the eccentricity of extra-verbal allegories and revealing meanings that are often inconsistent with the ideological guidelines of that era. Continuing the tradition of comic adaptations of folklore in Russian music, film composers humorously revise well-known, even banal, song samples. The principles of soundtrack dramaturgy echo the feuilleton. The use of quotations is dominated by the devaluation of “high” borrowings and the elevation of “low” ones. The author systematizes prototypes of parody, archetypes of musical and plastic movements. Analysis of sound and visual synthesis reveals not only the hidden layers of the film meaning but also signs of the era, often far from comic.
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Wright, H. Stephen, Stewart R. Craggs, Laurence E. MacDonald, and Don Christlieb. "Soundtracks: An International Dictionary of Composers for Film." Notes 55, no. 4 (June 1999): 942. http://dx.doi.org/10.2307/899618.
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Boltz, Marilyn G. "The cognitive processing of film and musical soundtracks." Memory & Cognition 32, no. 7 (October 2004): 1194–205. http://dx.doi.org/10.3758/bf03196892.
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McBane, Barbara. "Walking, Talking, Singing, Exploding…and Silence: Chantal Akerman's Soundtracks." Film Quarterly 70, no. 1 (2016): 39–47. http://dx.doi.org/10.1525/fq.2016.70.1.39.
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Chantal Akerman's sound strategies are defining elements of a unique film language noted for effects that feel close to direct experience and seem to approximate the passing of real time. Drawing from a range of Akerman's films, from Saute ma ville (1968) to No Home Movie (2015), five categories of sound that are of special interest in Akerman's films are considered: walking, talking, singing (music), exploding, and silence. Local examples are analyzed to give a sense of how, within these five categories, Akerman cultivated an overall tactic of desynchronization – often separating layers of sound from one another within the soundtrack, and always working the soundtrack as a whole against the visual image track – to amplify effects of immediacy and temporal complexity, and to generate layers of meaning powerfully but indirectly.
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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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Iten, Oswald. "The musicality of traumatic memories: A video essay." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 128–31. http://dx.doi.org/10.33178/alpha.27.11.
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This video essay attempts an audiovisual analysis of subjectively motivated sounds and music in Lynne Ramsay’s We Need to Talk About Kevin (2011) based on Danijela Kulezic-Wilson’s ideas about “film musicality” and “integrated soundtracks”.
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Malekpour, Miniature. "The Cultural Dialogue of Fidelity and Rendering in the Music of Googoosh in Hamsafar (1975)." Resonance 3, no. 4 (2022): 379–93. http://dx.doi.org/10.1525/res.2022.3.4.379.
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This study examines the role of sound and the cultural dialogue of “transnational status” in pre-revolutionary Iranian cinema, and more specifically, in the film-Farsi period. This study contributes to the literature because it mainly investigates how gender consciousness was promoted through the music soundscape in film-Farsi. The case study used to analyze and dissect the relationship—or rather, the borders and boundaries between the cultural dialogue of sound and music in film-Farsi—is the 1975 film Hamsafar (Fellow Traveler), directed by Masoud Asadollah. This paper will be of interest to film scholars and enthusiasts because Islamic feminism was infused in the “westoxification” and modernity of the powerful technique shaped by the soundtracks of films made before the Islamic revolution in 1979, especially by the voice and sound of Googoosh in the film Hamsafar.
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Grochowski, Thomas. "Magical Musical Tour: Rock and Pop in Film Soundtracks." Popular Music and Society 41, no. 4 (May 28, 2018): 464–65. http://dx.doi.org/10.1080/03007766.2018.1475958.
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Walker, Elsie. "Remembering my friend and rehearing two films." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 206–22. http://dx.doi.org/10.33178/alpha.27.17.
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This article revolves around two soundtracks Walker has admired along with the person to whom this issue of Alphaville is dedicated: Danijela Kulezic-Wilson. The soundtracks come from Soul by Pete Docter and Kemp Powers and Nomadland by Chloé Zhao, both released in 2020. The films are sonically worlds apart: Soul is dominated by jazz music by Jon Batiste and contemporary electronic music by Trent Reznor and Atticus Ross, while Nomadland features modern classical music by Ludovico Einaudi and Ólafur Arnalds. Ironically, despite sounding profoundly different, both films draw from true stories in order to teach audioviewers about living well, even in the midst of death. Or, to reapply Danijela’s words about Waking Life (Richard Linklater, 2001), these films emphasise “the dualistic nature of human experience, the pleasure of being alive and the implicit proximity of death.” Walker combines cinematherapy with sound studies to make a case for the wisdom of both films that have helped her cope with the grief of Danijela’s death, in the hope that this might resonate for those readers who find similar comfort in their own film-to-person relationships.
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Kaplan, Max. "Television music curation in the playlist era." Journal of Popular Television, The 11, no. 3 (November 1, 2023): 261–77. http://dx.doi.org/10.1386/jptv_00106_1.
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Today’s technologically eclectic media landscape – dominated by streaming algorithms, curated playlists and TikTok-spawned virality – has elevated the role of the television music supervisor. Film and television soundtracks, previously influenced by mixtapes and compilation CDs, have become inexorably shaped by the rise of streaming. Digging the infinite crates of the internet for rare and recycled tracks from yesterday and today, music supervisors for shows like High Fidelity (2020), The Bear (2022–present), Atlanta (2016–22) and Russian Doll (2019–present) have sculpted distinct sonic identities that grab viewers on-screen and retain their attention through their ‘Official Spotify Playlists’. This article traces the possibilities of the soundtrack in the playlist era through case studies of HBO’s eclectic anthology series High Maintenance (2012–20), as well as the unprecedented resurgence of Kate Bush via Netflix’s Stranger Things (2016–present).
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Anyanwu, Obumneke S., and Emaeyak P. Sylvanus. "Music Production Technology in New Nollywood Soundtracks: Context, Application, and the Effect of Globalization." Music and the Moving Image 15, no. 1 (April 1, 2022): 22–37. http://dx.doi.org/10.5406/19407610.15.1.02.
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Abstract New Nollywood refers to a segment of Nigerian cinema that began in 2012. The industry is based in Lagos and focuses on Hollywood-style approaches to film and film music. Generally, very little has been written about technologies in the film music of Nigerian cinema. This article is the first to focus explicitly on the impact of modern music production technology in New Nollywood soundtracks. Adopting descriptive as well as survey and historical methods of research, this article reveals what the specific and available technologies for film music in New Nollywood were and currently are; how the practitioners have employed them; as well as how the effects of such technologies have shaped the industry's cultural and economics choices. In addition to a review of the broad literature on cinema and film music, the methodology also relies on studio observation sessions with current industry practitioners as well as an analysis of the New Nollywood film The Bling Lagosians (2019). Taken together, findings reveal that the quality of New Nollywood film music is fluid and reflective of changes to the economic, cultural, and technological preferences of practitioners.
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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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Saleh, Ali A., Kawa A. Rasul, and Ken Fero. "A Multimodal Analysis of Discourse and Narrative In Kurdish Television Documentaries." Polytechnic Journal of Humanities and Social Sciences 3, no. 1 (May 21, 2022): 85–97. http://dx.doi.org/10.25156/ptjhss.v3n1y2022.pp85-97.
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From the perspective of multimodal discourse analysis, this paper analyses Kurdish television documentary film that produced by Kurdish television during the Islamic State in Iraq and Syria ISIS period in Iraq, exploring the discourse of the film by examining the visual, verbal, soundtracks modes, also considering how those modes work together to create narrative structure in the extracted film. The investigation has been done through applying, Iedema (2001) Reading Images: Visual Grammar by Kress & Van Leeuwen (2006; 2020; 1996). To deconstruct the elements of documentary film A modern software named Multimodal Video analysis by Kay L. O’Halloran & E (2013), has been applied. Results show, the extracted film has been produced by shaping the footages into an artefact by putting recorded materials together to make narrative structure, the deployment of various modes in the dynamic discourse, make the documentary films more effective in order to achive its discourse, Kurdish Television attempted to confirm ISIS brutality, ISIS crimes against Kurdish people, and displacement of Innocent civilians including children.
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Boltz, Marilyn G. "Musical Soundtracks as a Schematic Influence on the Cognitive Processing of Filmed Events." Music Perception 18, no. 4 (2001): 427–54. http://dx.doi.org/10.1525/mp.2001.18.4.427.
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Previous research has demonstrated that the accompanying music of a film can influence both the affective impact of a scene as well as its subsequent remembering. The intent here was to investigate whether the affect of music can also contribute to a story's comprehension by guiding the course of selective attending and providing a more elaborative encoding of characters' actions, motivations, and inherent temperament. These ideas were examined by presenting participants with three ambiguous film clips accompanied by positive, negative, and no music. Immediately after viewing each clip, some participants were asked to extrapolate the film's ending, evaluate the personality and motivations of the main character(s), and complete a series of bipolar adjective ratings about the film's actions. In addition, other participants returned a week later for a surprise recognition test that assessed their memory for certain objects within each film. Results revealed that relative to the control group of no music, positive and negative music significantly biased viewers' interpretation and subsequent remembering of a film in a mood-congruent fashion. These findings are discussed in terms of the schematic influences of music upon the cognitive processing of visual scenes.
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MITCHELL, TONY. "Brophy, P (2004) 100 Modern Soundtracks, London: British Film Institute Publishing." Perfect Beat 9, no. 1 (October 3, 2015): 92–94. http://dx.doi.org/10.1558/prbt.v9i1.28685.
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Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.
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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock and roll's emergence. The transformation of rock 'n' roll from “race music” to the safe alternative for white bourgeois males in the face of new wave, punk, disco and hip hop, reflected in the establishment of oldies radio formats and revival tours, was aided and abetted by oldies soundtracks to Hollywood film.
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Muhajir, Muhammad, and Annisa Ayunda Permata Sari. "Implementasi Metode Improved K-Means dengan Algoritma Dbscan untuk Pengelompokan Film." Unisda Journal of Mathematics and Computer Science (UJMC) 6, no. 01 (June 30, 2020): 1–8. http://dx.doi.org/10.52166/ujmc.v6i01.1923.
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The Indonesian film industry continues to experience an increase seen from the number of films that appear in theaters today with a box office increase of 28 percent each year in the past four years. Internet Movie Database (IMDb) is a website that provides information about films around the world, including the people involved in it from actors, directors, writers to makeup artists and soundtracks. In this case the researcher wants to conduct research on the characteristics of the film and the factors that make a film to be included in the IMDb Top 250. The data used in this study uses scraped data from the website. The method used is a non-hierarchical clustering method, namely kmeans and Dbscan. Where the Dbscan algorithm is used to determine the optimum number of clusters then proceed by grouping data based on centroids with k-means algorithm. From the analysis it was found that the factors that could influence a film included in the IMDB Top 250 were duration, number of votes, and films directed by Rajkumar Hirani and the optimal number of clusters using Dbscan algorithm obtained six clusters. With the improved k-means algorithm, the accuracy value for the cluster results is 87.2%.
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Blumstein, Daniel T., Gregory A. Bryant, and Peter Kaye. "The sound of arousal in music is context-dependent." Biology Letters 8, no. 5 (June 13, 2012): 744–47. http://dx.doi.org/10.1098/rsbl.2012.0374.
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Humans, and many non-human animals, produce and respond to harsh, unpredictable, nonlinear sounds when alarmed, possibly because these are produced when acoustic production systems (vocal cords and syrinxes) are overblown in stressful, dangerous situations. Humans can simulate nonlinearities in music and soundtracks through the use of technological manipulations. Recent work found that film soundtracks from different genres differentially contain such sounds. We designed two experiments to determine specifically how simulated nonlinearities in soundtracks influence perceptions of arousal and valence. Subjects were presented with emotionally neutral musical exemplars that had neither noise nor abrupt frequency transitions, or versions of these musical exemplars that had noise or abrupt frequency upshifts or downshifts experimentally added. In a second experiment, these acoustic exemplars were paired with benign videos. Judgements of both arousal and valence were altered by the addition of these simulated nonlinearities in the first, music-only, experiment. In the second, multi-modal, experiment, valence (but not arousal) decreased with the addition of noise or frequency downshifts. Thus, the presence of a video image suppressed the ability of simulated nonlinearities to modify arousal. This is the first study examining how nonlinear simulations in music affect emotional judgements. These results demonstrate that the perception of potentially fearful or arousing sounds is influenced by the perceptual context and that the addition of a visual modality can antagonistically suppress the response to an acoustic stimulus.
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Forecka-Waśko, Katarzyna Maria. "Muzyczne języki bajek Walta Disneya w procesie edukacji międzykulturowej." Edukacja Międzykulturowa 20, no. 1 (2023): 196–207. http://dx.doi.org/10.15804/em.2023.01.14.
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Music from Walt Disney’s animations is an element of pop culture. However, it is not a world limited to popular music but a space where ethnic music meets new sounds. The world of contemporary music enters a dialogue with the music of the sources, becoming its new translator. Thanks to Walt Disney’s film productions, multicultural music education opens up a new dimension in which globalization becomes an ally of local culture. The article addresses how both sound and word are used to present a different culture. In the cited examples, the language with its rhythm and melody is treated as an interesting musical material. Selected Walt Disney films were analyzed – their soundtracks as well as articles and reviews, blogs about the studio’s musical productions. In the considerations, a lot of attention was devoted to the song, which is the carrier of the main content of the film and the most frequently played element of the film image. Some attempts were made to indicate its functions in intercultural education, but also the ways of its use in child education.
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Smith, Kate Bolgar. "‘Ghosts of Songs’: The Haunting Soundtracks of the Black Audio Film Collective." New Soundtrack 5, no. 2 (September 2015): 89–101. http://dx.doi.org/10.3366/sound.2015.0072.
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Gunning, Tom. "Finding the way: films found on a scrap heap." Revista Laika 3, no. 5 (June 20, 2014): 1–12. http://dx.doi.org/10.11606/issn.2316-4077.v3i5p1-12.
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Some filmmakers restrict their manipulations of found footage to the minimal act of presenting a film they have discovered with almost no changes. But others have subjected found footage to extensive editing, chemical manipulation, rephotography, or new soundtracks (or all of these processes combined). In this brief essay I cannot hope to cover all the permutations of this rich genre of experimental film, nor to mention all of its numerous practitioners (and I will deal with the visual image more than sound). However, I do want to give a sense of the range of approaches that exist using found footage to mention a few of its masters
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Gunning, Tom. "Finding the Way: Films Found on a Scrap Head." Revista Laika 3, no. 5 (June 20, 2014): 42–53. http://dx.doi.org/10.11606/issn.2316-4077.v3i5p42-53.
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Some filmmakers restrict their manipulations of found footage to the minimal act of presenting a film they have discovered with almost no changes. But others have subjected found footage to extensive editing, chemical manipulation, rephotography, or new soundtracks (or all of these processes combined). In this brief essay I cannot hope to cover all the permutations of this rich genre of experimental film, nor to mention all of its numerous practitioners (and I will deal with the visual image more than sound). However, I do want to give a sense of the range of approaches that exist using found footage to mention a few of its masters.
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Rachman, Nur Afni. "John Fiske's Semiotic Analysis of Moral Education in “Budi Pekerti” Film." Journal of Language, Communication, and Tourism 2, no. 1 (December 30, 2023): 18–28. http://dx.doi.org/10.25047/jlct.v2i1.4481.
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This study used qualitative research with John Fiske's semiotic approach. This research aimed to reveal the reality, representation, and ideology regarding moral education in the film by Wregas Bhanuteja entitled “Budi Pekerti”. The film had a high artistic aesthetic and was full of meaning. Film is an audio-visual media that combines both elements, namely narrative and cinematic. This study employed the semiotic method by John Fiske as the research method. The signs shown in this film pointed to moral education which was currently a crisis in Indonesia. Reality, representation, and ideology regarding moral education were conveyed through conversations, choice of color tones, settings, soundtracks, and scenes. The results of the study showed that the film depicted current reality especially regarding the moral values in the society in Indonesia context. This also showed how current development of information and technology has strong correlation with people’s behavior especially related to moral values.
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Justice, Andrew. "Magical Musical Tour: Rock and Pop in Film Soundtracks by K. J. Donnelly." Notes 73, no. 4 (2017): 735–37. http://dx.doi.org/10.1353/not.2017.0053.
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Riazantsev, Lev, and Yevheniia Yevdokymenko. "Managing Stages of Film Sound Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 244–51. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248702.
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The purpose of this article is to analyse the main stages of sound production in film. The study aims to establish the main principles of film sound design, prove the importance of a rational approach to each stage in the context of their impact on the results of the study, and determine the role of sound in film dramaturgy. The research methodology is based on theoretical methods, namely an analysis of information sources, comparison of Ukrainian and foreign approaches to filmmaking, generalisation and systematisation of practical knowledge and experience of sound production in film from the first sound film to the present day. Scientific novelty. The management structure of sound production’s modern stages and their impact on creative and technical components of film soundtracks is analysed in detail for the first time. Conclusions. The article analyses the stages of sound production in film and establishes the main principles of sound design by studying Ukrainian and foreign approaches to creating sound in the film. The author summarises the rational approach to each stage in the context of their impact on the results of the study and examines the role of sound in film dramaturgy.
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Fiebig, Gerald, Uta Piereth, and Sebastian Karnatz. "The Cadolzburg Experience: On the Use of Sound in a Historical Museum." Leonardo Music Journal 27 (December 2017): 67–70. http://dx.doi.org/10.1162/lmj_a_01021.
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The museum at Cadolzburg Castle in Germany, opened in 2017, uses a sound installation to present aspects of the building’s history that could not be materially reconstructed. In this article, the curators and the sound artist explain how the installation alternates between sound effects and musical signifiers to engage visitors with their environment and to spark reflection on the problems of “authenticity” in museums. While the musical thread offers quotes from musical styles representing the castle’s history, the sound thread gradually deconstructs a “castle soundscape” inspired by film soundtracks.