Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-music academics in asserting the role of music within documentary, a perceived precedence of visual over auditory components, and the notion of the documentarist as an ‘artist’ all participate in defending and deflecting the ethical responsibility of music in the contemporary audio-visual documentary. Through exploring the use of music in three different documentaries, this research proposes a typology outlining music’s areas of ethical concern, including persuasion, representation, and emotional heightening. Music’s ethical precariousness emerges in recognising its capacity to influence audience perception of ‘reality’ through emotional and semiotic capacity, and crucially, in the degree to which its influence often remains unnoticed.
{"title":"Persuasion, Representation, and Emotional Heightening","authors":"H. Matthews","doi":"10.3828/MSMI.2021.4","DOIUrl":"https://doi.org/10.3828/MSMI.2021.4","url":null,"abstract":"\u0000Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-music academics in asserting the role of music within documentary, a perceived precedence of visual over auditory components, and the notion of the documentarist as an ‘artist’ all participate in defending and deflecting the ethical responsibility of music in the contemporary audio-visual documentary. Through exploring the use of music in three different documentaries, this research proposes a typology outlining music’s areas of ethical concern, including persuasion, representation, and emotional heightening. Music’s ethical precariousness emerges in recognising its capacity to influence audience perception of ‘reality’ through emotional and semiotic capacity, and crucially, in the degree to which its influence often remains unnoticed.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49172566","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":"Book Reviews","authors":"C. Pontone, I. Sapiro","doi":"10.3828/msmi.2021.5","DOIUrl":"https://doi.org/10.3828/msmi.2021.5","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46005037","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 an interview discussing Prénom: Carmen (1983), Jean-Luc Godard underlines the correlation between the processes of music and filmmaking: ‘Making a film is like performing a quartet’. The emphasis on such a relationship between these two virtually different modes of artistic expression, the act of reflecting upon art in general, and the final artwork, represents Godard’s primary concern in this film. In order to emphasise this self-reflexive stance in Prénom: Carmen, the footage of the Quatuor Prat rehearsing Ludwig van Beethoven’s string quartets is intertwined with fictional material narrating a contemporary version of the Carmen myth. With this alternation, Godard conveys that his conception of cinema emerges from observing how performers create music. Music-making is thus as much a hands-on endeavour as filmmaking itself. Since we are limited to having two hands to edit the soundtrack and mix and arrange the different sounds, we consequently can hear only two sounds at the same time. With this self-inflicted limitation, Godard shapes the soundtrack of Prénom: Carmen with only two simultaneous sounds. Such an overtly self-conscious approach to film sound shifts the focus onto Beethoven’s music, not only as an artistic key device, but also as an alien within the surprisingly complex soundscape and more generally also within the contemporary Carmen story.
{"title":"Jean-Luc Godard’s Prénom: Carmen (1983)","authors":"Michael Baumgartner","doi":"10.3828/MSMI.2021.2","DOIUrl":"https://doi.org/10.3828/MSMI.2021.2","url":null,"abstract":"\u0000In an interview discussing Prénom: Carmen (1983), Jean-Luc Godard underlines the correlation between the processes of music and filmmaking: ‘Making a film is like performing a quartet’. The emphasis on such a relationship between these two virtually different modes of artistic expression, the act of reflecting upon art in general, and the final artwork, represents Godard’s primary concern in this film. In order to emphasise this self-reflexive stance in Prénom: Carmen, the footage of the Quatuor Prat rehearsing Ludwig van Beethoven’s string quartets is intertwined with fictional material narrating a contemporary version of the Carmen myth. With this alternation, Godard conveys that his conception of cinema emerges from observing how performers create music. Music-making is thus as much a hands-on endeavour as filmmaking itself. Since we are limited to having two hands to edit the soundtrack and mix and arrange the different sounds, we consequently can hear only two sounds at the same time. With this self-inflicted limitation, Godard shapes the soundtrack of Prénom: Carmen with only two simultaneous sounds. Such an overtly self-conscious approach to film sound shifts the focus onto Beethoven’s music, not only as an artistic key device, but also as an alien within the surprisingly complex soundscape and more generally also within the contemporary Carmen story.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44047044","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}
Pub Date : 2021-05-20DOI: 10.5406/MUSIMOVIIMAG.14.2.0031
R. Sadoff, Suzana Peric
{"title":"Film Music Editing and Creating a Narrative World: A Conversation with Suzana Peric","authors":"R. Sadoff, Suzana Peric","doi":"10.5406/MUSIMOVIIMAG.14.2.0031","DOIUrl":"https://doi.org/10.5406/MUSIMOVIIMAG.14.2.0031","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72769738","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}
Pub Date : 2021-05-20DOI: 10.5406/MUSIMOVIIMAG.14.2.0003
P. Chihara, H. Shore
{"title":"For Stage and Screen: A Conversation with Howard Shore","authors":"P. Chihara, H. Shore","doi":"10.5406/MUSIMOVIIMAG.14.2.0003","DOIUrl":"https://doi.org/10.5406/MUSIMOVIIMAG.14.2.0003","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78012639","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}
Pub Date : 2021-05-10DOI: 10.5406/MUSIMOVIIMAG.14.2.0051
B. Osborn
Abstract:A number of recent music videos by women subvert the male gaze (Mulvey) through a number of techniques I construe as “resistance gazes.” These videos subvert the hypersexualization, infantilization, objectification, and victimization regularly seen in music videos using imagery that resonates with broader cultural movements such as #metoo and #timesup.
{"title":"Resistance Gazes in Recent Music Videos","authors":"B. Osborn","doi":"10.5406/MUSIMOVIIMAG.14.2.0051","DOIUrl":"https://doi.org/10.5406/MUSIMOVIIMAG.14.2.0051","url":null,"abstract":"Abstract:A number of recent music videos by women subvert the male gaze (Mulvey) through a number of techniques I construe as “resistance gazes.” These videos subvert the hypersexualization, infantilization, objectification, and victimization regularly seen in music videos using imagery that resonates with broader cultural movements such as #metoo and #timesup.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90450179","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}
Pub Date : 2021-03-05DOI: 10.5406/MUSIMOVIIMAG.14.1.0026
Nachtergaele
Abstract:This article explores the connections between musical and narrative crookedness in The Broken Circle Breakdown (2012). I propose a definition of narrative tactus to account for the increasingly disruptive impact of the film’s nonlinear structure and consider how the soundtrack both accentuates and counteracts the resulting sense of disjunction.Trigger warning: This article discusses the suicide of one of the film’s protagonists.
{"title":"Music, Form, and Crooked Time in Felix van Groeningen’s The Broken Circle Breakdown (2012)","authors":"Nachtergaele","doi":"10.5406/MUSIMOVIIMAG.14.1.0026","DOIUrl":"https://doi.org/10.5406/MUSIMOVIIMAG.14.1.0026","url":null,"abstract":"Abstract:This article explores the connections between musical and narrative crookedness in The Broken Circle Breakdown (2012). I propose a definition of narrative tactus to account for the increasingly disruptive impact of the film’s nonlinear structure and consider how the soundtrack both accentuates and counteracts the resulting sense of disjunction.Trigger warning: This article discusses the suicide of one of the film’s protagonists.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89757685","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}
Pub Date : 2021-03-05DOI: 10.5406/MUSIMOVIIMAG.14.1.0003
Seminara
Abstract:This article discusses New Babylon (Novyi Vavilon), a silent film in eight parts by Grigory Kozintsev and Leonid Trauberg with music by Dmitri Shostakovich, produced in 1929 by Sovkino, the state film studio of the USSR. It reconstructs the genesis of New Babylon in the context of the artistic avant-garde of the Soviet Union in the 1920s and engages with the recent debate on the different versions of the film, siding with those who believe that the “official” version of New Babylon was the result of a conscious re-editing of the movie.To support this position, the author proposes a structural and aesthetic analysis of New Babylon that focuses on the literary and visual sources of the film and their relationship to sound. Shostakovich found compositional solutions that matched the choices of the directors perfectly, both in terms of musical quotes (corresponding to figurative references) and techniques. On the one hand, the composer employed strategies and topoi of the European musical tradition (such as the so-called figure of death), and on the other hand, he applied to his music the humour and grotesque style typical of literary works by the likes of Dostoevsky, Chekhov, and Gogol. The influence of Russian formalism on the filmic and musical language of New Babylon is also considered in some depth, especially in light of the formalistic concept of “estrangement.” The film is then compared with Eisenstein’s Battleship Potemkin, which helps to explain the original interplay between the arduous musical language and the complex configuration of the images. Finally, the formalistic approach of the authors of New Babylon—Kozinčev, Trauberg, and Shostakovich—is further analyzed by examining two sequences that exemplify the metatextual conception of the film, intended as a “symbolic form” that both generates processes of referring and requires an exegetical commitment.
{"title":"Music and Images in New Babylon between Literature and Visual Arts","authors":"Seminara","doi":"10.5406/MUSIMOVIIMAG.14.1.0003","DOIUrl":"https://doi.org/10.5406/MUSIMOVIIMAG.14.1.0003","url":null,"abstract":"Abstract:This article discusses New Babylon (Novyi Vavilon), a silent film in eight parts by Grigory Kozintsev and Leonid Trauberg with music by Dmitri Shostakovich, produced in 1929 by Sovkino, the state film studio of the USSR. It reconstructs the genesis of New Babylon in the context of the artistic avant-garde of the Soviet Union in the 1920s and engages with the recent debate on the different versions of the film, siding with those who believe that the “official” version of New Babylon was the result of a conscious re-editing of the movie.To support this position, the author proposes a structural and aesthetic analysis of New Babylon that focuses on the literary and visual sources of the film and their relationship to sound. Shostakovich found compositional solutions that matched the choices of the directors perfectly, both in terms of musical quotes (corresponding to figurative references) and techniques. On the one hand, the composer employed strategies and topoi of the European musical tradition (such as the so-called figure of death), and on the other hand, he applied to his music the humour and grotesque style typical of literary works by the likes of Dostoevsky, Chekhov, and Gogol. The influence of Russian formalism on the filmic and musical language of New Babylon is also considered in some depth, especially in light of the formalistic concept of “estrangement.” The film is then compared with Eisenstein’s Battleship Potemkin, which helps to explain the original interplay between the arduous musical language and the complex configuration of the images. Finally, the formalistic approach of the authors of New Babylon—Kozinčev, Trauberg, and Shostakovich—is further analyzed by examining two sequences that exemplify the metatextual conception of the film, intended as a “symbolic form” that both generates processes of referring and requires an exegetical commitment.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77474565","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}
Pub Date : 2021-03-05DOI: 10.5406/musimoviimag.14.1.0046
Felicity Wilcox
{"title":"“The Passion That We Don’t Understand”: An Interview with Lisa Gerrard","authors":"Felicity Wilcox","doi":"10.5406/musimoviimag.14.1.0046","DOIUrl":"https://doi.org/10.5406/musimoviimag.14.1.0046","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81882245","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}
Pub Date : 2021-01-01DOI: 10.5406/musimoviimag.14.2.bm
{"title":"Back Matter","authors":"","doi":"10.5406/musimoviimag.14.2.bm","DOIUrl":"https://doi.org/10.5406/musimoviimag.14.2.bm","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89570960","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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