In this interview, filmmaker Su Friedrich comments on a wide variety of projects, as well as her labour-intensive work process, the crucial role of feedback from friends and fellow filmmakers, and the importance of being specific. She also describes her experience researching unusual archives, her views on the current media landscape, and the satisfaction of creating Edited By, a website dedicated to honouring the many women who revolutionised film editing, playing a key role in cinema history that has yet to be fully recognised.
在这次访谈中，电影制片人苏-弗里德里希谈到了她的各种项目、她的劳动密集型工作过程、朋友和同行的反馈所起的关键作用以及具体的重要性。她还讲述了自己研究不寻常档案的经历、对当前媒体格局的看法，以及创建 Edited By 网站的满足感。Edited By 是一个专门向众多女性致敬的网站，她们为电影剪辑带来了革命性的变化，在电影史上发挥了关键作用，但这一作用尚未得到充分认可。
{"title":"Labour-Intensive Filmmaking: An interview with Su Friedrich","authors":"Sibley Labandeira","doi":"10.33178/alpha.27.28","DOIUrl":"https://doi.org/10.33178/alpha.27.28","url":null,"abstract":"In this interview, filmmaker Su Friedrich comments on a wide variety of projects, as well as her labour-intensive work process, the crucial role of feedback from friends and fellow filmmakers, and the importance of being specific. She also describes her experience researching unusual archives, her views on the current media landscape, and the satisfaction of creating Edited By, a website dedicated to honouring the many women who revolutionised film editing, playing a key role in cinema history that has yet to be fully recognised.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"19 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141684902","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 Little Mermaid (1989) has been the subject of much critical discussion but there has been little attention paid to its representation of race. Utilising textual analysis and drawing upon relevant critical paradigms from Disney studies and scholarship of film musicals, this article argues that The Little Mermaid was an implicitly racist narrative. Through analysis of the musical sequences this article shows how The Little Mermaid created a dichotomy between an exclusively white land life that is coded as superior to multiethnic Mer life. While white society on land is represented as postindustrial, well ordered and crime free, the multiethnic culture under the sea is coded not only as sexually unbridled, where promiscuous fish all “get the urge and start to play” with each other’s bodies, but as a thoroughly corrupt society racked with Welfare Queen coded villainesses dealing in black magic. The article contends that the 2023 remake attempts to revise many of the racist tropes of the original song sequences but, in its depiction of a society in which racial difference is devoid of socio-political significance, The Little Mermaid (2023)—especially in its Berkeley inspired dance sequences—reduces racial difference to a mere aesthetic of colour.
{"title":"Part of whose world? How The Little Mermaid (2023) attempts to revise the racist tropes of the 1989 animated film musical","authors":"Niall Richardson","doi":"10.33178/alpha.27.08","DOIUrl":"https://doi.org/10.33178/alpha.27.08","url":null,"abstract":"The Little Mermaid (1989) has been the subject of much critical discussion but there has been little attention paid to its representation of race. Utilising textual analysis and drawing upon relevant critical paradigms from Disney studies and scholarship of film musicals, this article argues that The Little Mermaid was an implicitly racist narrative. Through analysis of the musical sequences this article shows how The Little Mermaid created a dichotomy between an exclusively white land life that is coded as superior to multiethnic Mer life. While white society on land is represented as postindustrial, well ordered and crime free, the multiethnic culture under the sea is coded not only as sexually unbridled, where promiscuous fish all “get the urge and start to play” with each other’s bodies, but as a thoroughly corrupt society racked with Welfare Queen coded villainesses dealing in black magic. The article contends that the 2023 remake attempts to revise many of the racist tropes of the original song sequences but, in its depiction of a society in which racial difference is devoid of socio-political significance, The Little Mermaid (2023)—especially in its Berkeley inspired dance sequences—reduces racial difference to a mere aesthetic of colour.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"52 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141688361","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}
Expanding on ideas presented by Danijela Kulezic-Wilson in a chapter of her 2020 book Sound Design Is the New Score, this article explores the nature of “reticent” films both old and new, and it suggests that often it is because their soundtracks have so little to “say” that these films communicate so very, very much.
本文扩展了达尼耶拉-库勒齐克-威尔逊（Danijela Kulezic-Wilson）在其 2020 年出版的《声音设计是新的配乐》（Sound Design Is the New Score）一书中的一个章节中提出的观点，探讨了 "沉默寡言 "的新老电影的本质，并指出，往往正是因为它们的配乐 "要说的话 "太少，这些电影才能传达出如此之多的信息。
{"title":"Music in “reticent” cinema","authors":"James Wierzbicki","doi":"10.33178/alpha.27.16","DOIUrl":"https://doi.org/10.33178/alpha.27.16","url":null,"abstract":"Expanding on ideas presented by Danijela Kulezic-Wilson in a chapter of her 2020 book Sound Design Is the New Score, this article explores the nature of “reticent” films both old and new, and it suggests that often it is because their soundtracks have so little to “say” that these films communicate so very, very much.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"135 3‐5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141686936","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 examines the production of musical nostalgia in High School Musical: The Musical: The Series (2019–23), one of the first series created for Disney’s streaming platform. On one level, the series serves as a nostalgic extension of the High School Musical franchise in its setting and narrative construction, and a nostalgic continuation of the teen-musical genre in its idealised depiction of high-school life mediated through song. At the same time, this nostalgia is coupled with an emphasis on the show’s newness: the series transposes the original film to a new format—a self-referential, multi-episodic mockumentary—and occupies a different temporal world, in which nostalgia is technologically mediated and constructed as part of the diegesis. Focusing on music, as a primary sensory input for the evocation of nostalgia, this study explores how The Series capitalises upon this nostalgia/modernity dichotomy to structure its narrative and engender brand affinity. Drawing together textual analyses of audiovisual sequences and practitioner testimony from the show’s creatives, it demonstrates how The Series uses music to develop Disney’s brand, harnessing the technological and creative promise of the Company’s proprietary streaming service, whilst simultaneously employing nostalgic strategies to reaffirm the status quo in aspects of its narrative.
{"title":"Stick to the status quo? Music and the production of nostalgia on Disney+","authors":"Toby Huelin","doi":"10.33178/alpha.27.06","DOIUrl":"https://doi.org/10.33178/alpha.27.06","url":null,"abstract":"This article examines the production of musical nostalgia in High School Musical: The Musical: The Series (2019–23), one of the first series created for Disney’s streaming platform. On one level, the series serves as a nostalgic extension of the High School Musical franchise in its setting and narrative construction, and a nostalgic continuation of the teen-musical genre in its idealised depiction of high-school life mediated through song. At the same time, this nostalgia is coupled with an emphasis on the show’s newness: the series transposes the original film to a new format—a self-referential, multi-episodic mockumentary—and occupies a different temporal world, in which nostalgia is technologically mediated and constructed as part of the diegesis. Focusing on music, as a primary sensory input for the evocation of nostalgia, this study explores how The Series capitalises upon this nostalgia/modernity dichotomy to structure its narrative and engender brand affinity. Drawing together textual analyses of audiovisual sequences and practitioner testimony from the show’s creatives, it demonstrates how The Series uses music to develop Disney’s brand, harnessing the technological and creative promise of the Company’s proprietary streaming service, whilst simultaneously employing nostalgic strategies to reaffirm the status quo in aspects of its narrative.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"30 52","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141685625","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}
In celebrating the centennial of the Disney Studios, it is also important to note cultural challenges to Disney’s representation and how the studio/corporation responds. This includes looking beyond their cartoons and films, but also into their theme park offerings, which are arguably extensions of Disney’s animation innovations. To do this, we drill into three popular Disneyland theme park attractions that are simultaneously cinematic and controversial, placing Disney in a delicate balance between the need for renewal and their fan’s reactions to change in any form. Indeed, sometimes it seems that Disney is not responsive enough or that they are too reactive. Our contention is that, in recognition of Disney as a cultural influencer, their attempts to improve representation in the theme parks will help lead to a better small world.
{"title":"Diversity in Disney’s Theme Parks: Is it working?","authors":"Priscilla Hobbs","doi":"10.33178/alpha.27.09","DOIUrl":"https://doi.org/10.33178/alpha.27.09","url":null,"abstract":"In celebrating the centennial of the Disney Studios, it is also important to note cultural challenges to Disney’s representation and how the studio/corporation responds. This includes looking beyond their cartoons and films, but also into their theme park offerings, which are arguably extensions of Disney’s animation innovations. To do this, we drill into three popular Disneyland theme park attractions that are simultaneously cinematic and controversial, placing Disney in a delicate balance between the need for renewal and their fan’s reactions to change in any form. Indeed, sometimes it seems that Disney is not responsive enough or that they are too reactive. Our contention is that, in recognition of Disney as a cultural influencer, their attempts to improve representation in the theme parks will help lead to a better small world.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"30 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141687702","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}
Robbie Robertson’s score for The Irishman (Martin Scorsese, 2019) emphasises the film’s underlying contemplation of impending aging and death. Building on Danijela Kulezic-Wilson’s concepts of reticence, sensuality, and eroticism, this analysis explores the collaborators’ converging stylistic relationship to reticence and proposes a distinction between the “sensual” (an immediate appeal to the senses, residing particularly in timbre, texture, and sonic space) and the “erotic” (a temporal unfolding of anticipation, expectation, evasion, and fulfillment), all concepts richly represented in the score. Two primary cues—the “Theme” that punctuates the narrative at key points and the end-title music, “Remembrance”—share a bluesy aesthetic, but break through the style’s predictable responsorial, circular forms: the “Theme” takes a minimalist approach, the erratic phrasing of its tenuous texture thwarting expectation and building suspense, even dread; in “Remembrance,” three virtuoso blues guitarists solo individually and yet together, abandoning traditional call-and-response and cutting competition to join into a heterophonic communal lament, peaking in an ecstatic release of grief and a reflective recovery of breath.
{"title":"“Remembrance”: Reticence, the sensual, the erotic, and the music for The Irishman","authors":"Robynn J. Stilwell","doi":"10.33178/alpha.27.15","DOIUrl":"https://doi.org/10.33178/alpha.27.15","url":null,"abstract":"Robbie Robertson’s score for The Irishman (Martin Scorsese, 2019) emphasises the film’s underlying contemplation of impending aging and death. Building on Danijela Kulezic-Wilson’s concepts of reticence, sensuality, and eroticism, this analysis explores the collaborators’ converging stylistic relationship to reticence and proposes a distinction between the “sensual” (an immediate appeal to the senses, residing particularly in timbre, texture, and sonic space) and the “erotic” (a temporal unfolding of anticipation, expectation, evasion, and fulfillment), all concepts richly represented in the score. Two primary cues—the “Theme” that punctuates the narrative at key points and the end-title music, “Remembrance”—share a bluesy aesthetic, but break through the style’s predictable responsorial, circular forms: the “Theme” takes a minimalist approach, the erratic phrasing of its tenuous texture thwarting expectation and building suspense, even dread; in “Remembrance,” three virtuoso blues guitarists solo individually and yet together, abandoning traditional call-and-response and cutting competition to join into a heterophonic communal lament, peaking in an ecstatic release of grief and a reflective recovery of breath.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"39 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141687421","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":"Cinematic Histospheres: On the Theory and Practice of Historical Films, by Rasmus Greiner","authors":"Li-An Ko","doi":"10.33178/alpha.27.25","DOIUrl":"https://doi.org/10.33178/alpha.27.25","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"29 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141684647","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":"Su Friedrich: Interviews, edited by Sonia Misra and Rox Samer","authors":"Sibley Labandeira","doi":"10.33178/alpha.27.27","DOIUrl":"https://doi.org/10.33178/alpha.27.27","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"9 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141685177","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 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”.
{"title":"The musicality of traumatic memories: A video essay","authors":"Oswald Iten","doi":"10.33178/alpha.27.11","DOIUrl":"https://doi.org/10.33178/alpha.27.11","url":null,"abstract":"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”.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"30 37","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141685219","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 video essay explores the relationship between the soundscape compositions of Hildegard Westerkamp, the films of Gus Van Sant, and the writing of Danijela Kulezic-Wilson. The piece presents Westerkamp’s composition “Doors of Perception” in its entirety with accompanying sequences from the Van Sant films that have used her work as part of their sound design, along with other of his films that do not. The sequences from Elephant and Last Days are positioned according to the timing of the excerpts used in the films, only now it is the films that are integrated into the soundscape composition rather than the other way around. For the rest of the composition, I speculate on what it might have been like to hear “Doors of Perception” in other films by Van Sant, excerpting a few sequences from across his filmography loosely synchronised around a few key points that suggest correlation between sound and image in similar ways to how Van Sant mapped the composition into Elephant and Last Days. These thematic connections support Danijela Kulezic-Wilson’s arguments about the new perceptual engagements opened up under Van Sant’s influence by soundwalking and music concrète within his filmmaking practice.
这篇视频文章探讨了希尔德加德-韦斯特坎普（Hildegard Westerkamp）的音效作品、古斯-范-桑特（Gus Van Sant）的电影和达尼耶拉-库莱齐奇-威尔逊（Danijela Kulezic-Wilson）的写作之间的关系。这部影片完整地展示了韦斯特坎普的作品《感知之门》，并配以凡-桑特电影中使用她的作品作为声音设计一部分的片段，以及凡-桑特电影中没有使用她的作品的其他片段。大象》和《最后的日子》中的片段是根据电影中使用的选段的时间安排的，只是现在是电影融入了音景构成，而不是相反。在作品的其余部分，我猜测在范-桑特的其他电影中听到 "感知之门 "可能是什么感觉，我从他的电影作品中摘录了一些片段，围绕几个关键点松散地同步进行，这些关键点暗示了声音与图像之间的关联，与范-桑特将作品映射到《大象》和《最后的日子》中的方式类似。这些主题上的联系支持了达尼耶拉-库勒齐克-威尔逊（Danijela Kulezic-Wilson）的论点，即在范-桑特的影响下，声音行走和简练音乐在其电影创作实践中开辟了新的感知参与方式。
{"title":"Composing perception: Hildegard Westerkamp meets Gus Van Sant (a video essay)","authors":"Randolph Jordan","doi":"10.33178/alpha.27.19","DOIUrl":"https://doi.org/10.33178/alpha.27.19","url":null,"abstract":"This video essay explores the relationship between the soundscape compositions of Hildegard Westerkamp, the films of Gus Van Sant, and the writing of Danijela Kulezic-Wilson. The piece presents Westerkamp’s composition “Doors of Perception” in its entirety with accompanying sequences from the Van Sant films that have used her work as part of their sound design, along with other of his films that do not. The sequences from Elephant and Last Days are positioned according to the timing of the excerpts used in the films, only now it is the films that are integrated into the soundscape composition rather than the other way around. For the rest of the composition, I speculate on what it might have been like to hear “Doors of Perception” in other films by Van Sant, excerpting a few sequences from across his filmography loosely synchronised around a few key points that suggest correlation between sound and image in similar ways to how Van Sant mapped the composition into Elephant and Last Days. These thematic connections support Danijela Kulezic-Wilson’s arguments about the new perceptual engagements opened up under Van Sant’s influence by soundwalking and music concrète within his filmmaking practice.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"357 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141686179","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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