{"title":"What Film Is Good For: On the Value of Spectatorship, edited by Julian Hanich and Martin P. Rossouw","authors":"Nich Krause","doi":"10.33178/alpha.27.26","DOIUrl":"https://doi.org/10.33178/alpha.27.26","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"59 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141687047","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":"Profit Margins: The American Silent Cinema and the Marginalization of Advertising, by Jeremy Groskopf","authors":"J. Curry","doi":"10.33178/alpha.27.21","DOIUrl":"https://doi.org/10.33178/alpha.27.21","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"38 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141687430","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":"Dark Scenes from Damaged Earth: The Gothic Anthropocene,edited by Justin D. Edwards, Rune Graulund, and Johan Höglund","authors":"David Franklin","doi":"10.33178/alpha.27.35","DOIUrl":"https://doi.org/10.33178/alpha.27.35","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"54 s51","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141688341","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 Black Media Philosophy, by Armond R. Towns","authors":"Ruth M. Gregory","doi":"10.33178/alpha.27.23","DOIUrl":"https://doi.org/10.33178/alpha.27.23","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"14 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141684815","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":"East Asian Film Remakes, edited by David Scott Diffrient and Kenneth Chan","authors":"Boel Ulfsdotter","doi":"10.33178/alpha.27.33","DOIUrl":"https://doi.org/10.33178/alpha.27.33","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"3 22","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141686070","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":"American Mass Incarceration and Post-Network Quality Television, by Lee A. Flamand","authors":"Harrison Patten","doi":"10.33178/alpha.27.32","DOIUrl":"https://doi.org/10.33178/alpha.27.32","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"359 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141686429","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":"Incomplete: The Feminist Possibilities of the Unfinished Film, by Alix Beeston and Stefan Solomon","authors":"Kaitlin Lake","doi":"10.33178/alpha.27.29","DOIUrl":"https://doi.org/10.33178/alpha.27.29","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"51 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141688464","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 Outer Limits, by Joanne Morreale","authors":"Mehdi Achouche","doi":"10.33178/alpha.27.20","DOIUrl":"https://doi.org/10.33178/alpha.27.20","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"27 46","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141684385","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":"100 years of Disney","authors":"Helen Haswell, Amy M. Davis","doi":"10.33178/alpha.27.01","DOIUrl":"https://doi.org/10.33178/alpha.27.01","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"8 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141685960","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 2019, I presented a paper at a conference in NUI Maynooth, Ireland that used Kevin Donnelly’s notion of the soundtrack as spectre as the starting point for discussing performativity and presence in the films of Russian director Andrey Zvyagintsev. During the discussion that followed, Danijela Kulezic-Wilson, who was in attendance, raised several observations concerning the relevance of Donnelly’s concept to her own research exploring the integrated soundtrack. This paper essentially seeks to continue that conversation. By revisiting several examples explored in Kulezic-Wilson’s chapter on “Soundtrack’s Liminal Spaces” in Sound Design Is the New Score, alongside others including Nick Cave’s score for The Proposition (John Hillcoat, 2005) and Birdman (Alejandro Iñárritu, 2014), I explore to what extent Donnelly’s analogy can be expanded to consider instances in film where the foregrounding of tactile musical gestures and spatial placement within the audio mix results in a distinctly performative, quasi-physical sensibility that challenges the “insubstantial” status of Donnelly’s spectral presence. Drawing on a broad framework of theoretical concepts including Miguel Mera’s discussion of the haptic score and Paul Sanden’s network of liveness, this paper aims to provide a complimentary perspective to an important aspect of Danijela Kulezic-Wilson’s significant contribution to the study of film sound and music.
2019年，我在爱尔兰梅努斯国立大学（NUI Maynooth）的一次会议上发表了一篇论文，以凯文-唐纳利（Kevin Donnelly）的 "配乐幽灵"（soundtrack as spectre）概念为出发点，讨论了俄罗斯导演安德烈-兹维亚金采夫（Andrey Zvyagintsev）电影中的表演性和存在感。在随后的讨论中，与会的达尼耶拉-库莱济奇-威尔逊（Danijela Kulezic-Wilson）就唐纳利的概念与她自己探索综合配乐的研究之间的相关性提出了一些看法。本文主要是为了继续这一对话。通过重温 Kulezic-Wilson 在《声音设计是新配乐》（Sound Design Is the New Score）一书中 "配乐的极限空间 "一章中探讨的几个例子，以及尼克-凯夫（Nick Cave）为《命题》（约翰-希尔科特，2005 年）和《鸟人》（亚历杭德罗-伊纳里多（Alejandro Iñárritu，2014 年）配乐的其他例子、我将探讨唐纳利的类比在多大程度上可以扩展到考虑电影中的实例，在这些实例中，将触觉音乐姿态和音频混音中的空间位置放在首位会产生一种明显的表演性、准物理感，从而挑战唐纳利的幽灵存在的 "非实体 "地位。本文借鉴了广泛的理论概念框架，包括米格尔-梅拉（Miguel Mera）对触觉配乐的讨论和保罗-桑登（Paul Sanden）的 "生命力 "网络，旨在为达尼耶拉-库雷齐奇-威尔逊（Danijela Kulezic-Wilson）对电影声音和音乐研究的重要贡献的一个重要方面提供一个补充视角。
{"title":"More beautiful areas: Performativity and presence in the integrated soundtrack","authors":"Adam Melvin","doi":"10.33178/alpha.27.12","DOIUrl":"https://doi.org/10.33178/alpha.27.12","url":null,"abstract":"In 2019, I presented a paper at a conference in NUI Maynooth, Ireland that used Kevin Donnelly’s notion of the soundtrack as spectre as the starting point for discussing performativity and presence in the films of Russian director Andrey Zvyagintsev. During the discussion that followed, Danijela Kulezic-Wilson, who was in attendance, raised several observations concerning the relevance of Donnelly’s concept to her own research exploring the integrated soundtrack. This paper essentially seeks to continue that conversation. By revisiting several examples explored in Kulezic-Wilson’s chapter on “Soundtrack’s Liminal Spaces” in Sound Design Is the New Score, alongside others including Nick Cave’s score for The Proposition (John Hillcoat, 2005) and Birdman (Alejandro Iñárritu, 2014), I explore to what extent Donnelly’s analogy can be expanded to consider instances in film where the foregrounding of tactile musical gestures and spatial placement within the audio mix results in a distinctly performative, quasi-physical sensibility that challenges the “insubstantial” status of Donnelly’s spectral presence. Drawing on a broad framework of theoretical concepts including Miguel Mera’s discussion of the haptic score and Paul Sanden’s network of liveness, this paper aims to provide a complimentary perspective to an important aspect of Danijela Kulezic-Wilson’s significant contribution to the study of film sound and music.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"18 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141687569","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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