{"title":"Inside the outsider’s ear – hyperacousia and marginalized character identification","authors":"J. O'meara","doi":"10.1386/ST.5.2.121_1","DOIUrl":"https://doi.org/10.1386/ST.5.2.121_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129001690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Epic texturing in the first-person shooter: The aesthetics of video game music","authors":"T. Summers","doi":"10.1386/ST.5.2.131_1","DOIUrl":"https://doi.org/10.1386/ST.5.2.131_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126860750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Footsteps, breath and recording devices: Abandoning a camera-centric construction of ‘point of audition’","authors":"Sheldon Schiffer","doi":"10.1386/ST.5.1.15_1","DOIUrl":"https://doi.org/10.1386/ST.5.1.15_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115845732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Abbas Kiarostami: A cinema of silence","authors":"Babak Tabarraee","doi":"10.1386/ST.5.1.5_1","DOIUrl":"https://doi.org/10.1386/ST.5.1.5_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123681282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Understanding Minimalist Film Music: The Case of Man on Wire","authors":"P. A. Siôn.","doi":"10.1386/ST.5.1.51_1","DOIUrl":"https://doi.org/10.1386/ST.5.1.51_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122068673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the recurrent use of jazz music in some of the early films of the Swedish film director Ingmar Bergman: Kris/Crisis (1946), Till gladje/ To Joy (1949), Sommaren med Monika/Summer with Monika (1953), En lektion i karlek/A Lesson in Love (1954), Kvinnodrom/Dreams (1955) and Tystnaden/The Silence (1963). In these films jazz is presented as derived from the corporeal body, as powerfully erotic and as culturally alien; it is also directly connected to a potentially destructive form of ‘modern’ female sexuality that is socially damaging. In each of the films this leads to social embarrassment, personal failure or even tragedy for the characters involved. The article considers the relationship between Bergman’s use of jazz to express distaste for modernity in relation to the cultural and social transformation of Sweden during the post-war period, and argues that the director’s attitude to the genre reflected a broader, often racist, approach to American popular culture generally and to African American music specifically within Swedish intellectual life. (Less)
这篇文章探讨了爵士音乐在瑞典电影导演英格玛·伯格曼的一些早期电影中的反复使用:克里斯/危机(1946)，蒂尔格莱杰/喜悦(1949)，Sommaren med Monika/夏天与莫妮卡(1953)，En lektion i karlek/爱的教训(1954)，Kvinnodrom/梦想(1955)和Tystnaden/沉默(1963)。在这些电影中，爵士乐被呈现为源自肉体，具有强烈的情色和文化上的异类;它还与一种具有潜在破坏性的“现代”女性性行为直接相关，这种性行为对社会具有破坏性。在每一部电影中，这都会导致社会尴尬，个人失败，甚至是相关人物的悲剧。本文考虑了伯格曼用爵士乐来表达对现代性的厌恶与战后瑞典文化和社会转型之间的关系，并认为导演对这种类型的态度反映了一种更广泛的，通常是种族主义的，对美国流行文化的态度，特别是对瑞典知识分子生活中的非裔美国人音乐的态度。(少)
{"title":"Music, lust and modernity: Jazz in the films of Ingmar Bergman","authors":"E. Hedling","doi":"10.1386/ST.4.2.89_1","DOIUrl":"https://doi.org/10.1386/ST.4.2.89_1","url":null,"abstract":"This article explores the recurrent use of jazz music in some of the early films of the Swedish film director Ingmar Bergman: Kris/Crisis (1946), Till gladje/ To Joy (1949), Sommaren med Monika/Summer with Monika (1953), En lektion i karlek/A Lesson in Love (1954), Kvinnodrom/Dreams (1955) and Tystnaden/The Silence (1963). In these films jazz is presented as derived from the corporeal body, as powerfully erotic and as culturally alien; it is also directly connected to a potentially destructive form of ‘modern’ female sexuality that is socially damaging. In each of the films this leads to social embarrassment, personal failure or even tragedy for the characters involved. The article considers the relationship between Bergman’s use of jazz to express distaste for modernity in relation to the cultural and social transformation of Sweden during the post-war period, and argues that the director’s attitude to the genre reflected a broader, often racist, approach to American popular culture generally and to African American music specifically within Swedish intellectual life. (Less)","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126504709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Moon River and Me\": The film-song as leitmotiv in Breakfast at Tiffany's","authors":"Blas Payri","doi":"10.1386/ST.4.2.137_1","DOIUrl":"https://doi.org/10.1386/ST.4.2.137_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124488898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cape Fear: Remaking a film score","authors":"Jonathan Godsall","doi":"10.1386/ST.4.2.117_1","DOIUrl":"https://doi.org/10.1386/ST.4.2.117_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126729628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On lip-sync: Three audio-visual vignettes from the 1970s","authors":"Gabrielle Gopinath","doi":"10.1386/ST.4.2.153_1","DOIUrl":"https://doi.org/10.1386/ST.4.2.153_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126044487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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