{"title":"Cold world: the deathly void of sound","authors":"D. Toop","doi":"10.1386/ST.2.2.87/1","DOIUrl":"https://doi.org/10.1386/ST.2.2.87/1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114177097","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":"The omnipresent soundscape of drones: reflections on Bill Viola's sound design in Five Angels for the Millennium","authors":"Tina Rigby Hanssen","doi":"10.1386/ST.2.2.127/1","DOIUrl":"https://doi.org/10.1386/ST.2.2.127/1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132869722","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":"Staging Sound: A Matter of Dissociation","authors":"Daniel Deshays","doi":"10.1386/ST.2.1.57_1","DOIUrl":"https://doi.org/10.1386/ST.2.1.57_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127287536","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":"Patriotic Dissonance: The Soundtrack of Hail the Conquering Hero","authors":"D. Power","doi":"10.1386/ST.2.1.77_1","DOIUrl":"https://doi.org/10.1386/ST.2.1.77_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115952556","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":"Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative","authors":"Christos Manolas, S. Pauletto","doi":"10.1386/ST.2.1.39_1","DOIUrl":"https://doi.org/10.1386/ST.2.1.39_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134166570","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}
The use of music in films has become almost ubiquitous in both drama and documentary. Music is used regularly in cinema, broadcasting and more recently, in interactive media. Yet audiences often criticise makers for its overuse, especially in actuality television. The problem is not merely concerned with the volume and placement of music, but of the internal nature and structure of the musical material itself. This article contextualises the history of western music in a way which may be able to help inform film makers and broadcasters about how music might be used more advantageously to accompany moving pictures.
{"title":"A Concise History of Western Music for Film-makers","authors":"Stephen Deutsch","doi":"10.1386/ST.2.1.23_1","DOIUrl":"https://doi.org/10.1386/ST.2.1.23_1","url":null,"abstract":"The use of music in films has become almost ubiquitous in both drama and documentary. Music is used regularly in cinema, broadcasting and more recently, in interactive media. Yet audiences often criticise makers for its overuse, especially in actuality television. The problem is not merely concerned with the volume and placement of music, but of the internal nature and structure of the musical material itself. This article contextualises the history of western music in a way which may be able to help inform film makers and broadcasters about how music might be used more advantageously to accompany moving pictures.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133248430","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}
The exploration of ‘chance’ as part of the creative process emerged as an increasingly important element in art practice during the twentieth century. It can be regarded as one of many approaches by which the avant-garde expressed its desire to create new forms in opposition to the aesthetic and conceptual values of the past. Film was not immune to this interest in chance procedures. This article focuses on notions of chance in the context of exploring the relationship between film image and music. More specifically, I discuss Jean Cocteau's method of ‘accidental synchronisation’ and Harry Smith's notion of ‘automatic synchronisation’, distinctive approaches to the use of music with film predicated on chance procedures. These methods can be viewed in terms of a longer history of experiments with sound, images and colour, that is, as precursors of the light-shows and multi-media events of the 1960s and other more contemporary media forms. Cocteau and Smith's experiments open up important questions about the processes by which audiences perceive and make sense of music in relation to film.
{"title":"Chance Encounters: Serendipity and the Use of Music in the Films of Jean Cocteau and Harry Smith","authors":"D. Chapman","doi":"10.1386/ST.2.1.5_1","DOIUrl":"https://doi.org/10.1386/ST.2.1.5_1","url":null,"abstract":"The exploration of ‘chance’ as part of the creative process emerged as an increasingly important element in art practice during the twentieth century. It can be regarded as one of many approaches by which the avant-garde expressed its desire to create new forms in opposition to the aesthetic and conceptual values of the past. Film was not immune to this interest in chance procedures. This article focuses on notions of chance in the context of exploring the relationship between film image and music. More specifically, I discuss Jean Cocteau's method of ‘accidental synchronisation’ and Harry Smith's notion of ‘automatic synchronisation’, distinctive approaches to the use of music with film predicated on chance procedures. These methods can be viewed in terms of a longer history of experiments with sound, images and colour, that is, as precursors of the light-shows and multi-media events of the 1960s and other more contemporary media forms. Cocteau and Smith's experiments open up important questions about the processes by which audiences perceive and make sense of music in relation to film.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124307468","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}
Feminist film scholars have long argued that there is a visual bias as to how the female body is represented on screen. This article explores the extension of this bias to include sound: how sound is used to represent women in American cinema. It explores sonic representation in several key films including Singin' in the Rain, Mulholland Drive, Blue Velvet and Citizen Kane.
{"title":"Speaking, Singing, Screaming: Controlling the Female Voice in American Cinema","authors":"L. Greene","doi":"10.1386/ST.2.1.63_1","DOIUrl":"https://doi.org/10.1386/ST.2.1.63_1","url":null,"abstract":"Feminist film scholars have long argued that there is a visual bias as to how the female body is represented on screen. This article explores the extension of this bias to include sound: how sound is used to represent women in American cinema. It explores sonic representation in several key films including Singin' in the Rain, Mulholland Drive, Blue Velvet and Citizen Kane.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125701572","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":"More Than Meets the Eye: Rouben Mamoulian's City Streets","authors":"D. Power","doi":"10.1386/ST.1.3.236","DOIUrl":"https://doi.org/10.1386/ST.1.3.236","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2008-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127014098","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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