This article examines some of the issues inherent in the film music archive type, in particular those that the author was able to visit in Italy during his research activity. He describes the ...peculiarities of such archives and the diversity of materials they contain, highlighting the attitude that a researcher must adopt when studying film music and disseminating it correctly, as well as the precautions a performer must take when accompanying a silent film. The article also contains some proposals to create a network of film music archives, in order to facilitate the work of reconstructing the complex links between those materials that later become part of a soundtrack, such as scores, sound recordings, notes, and film scripts.
Previous studies have explored the impact of music on emotional visual material and examined the impact of the placement of music on neutral film scenes, but there has not been any link between these ...two topics so far. In our study, a horror film scene extracted from the Spanish film REC with several shock moments was presented to participants (N = 39) who are divided into three groups. The scene was underscored with specially composed horror film music that had either congruent shock moments (synchronous condition) or preponed shock moments (asynchronous condition). For the third group, there was no musical background (control group), but the same sound design and same dialogues. As physiological data we use skin conductance and heart rate, but only the skin conductance reached significant values for differences between the groups. The results show that there was an additional effect of the music even though there is already a strong emotional statement of the visual material. Furthermore, our findings suggest that the placement of music prior to the shock moment can lead to the stress level increasing earlier than in the other conditions.
This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a ...musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives.
Dieser Open Access Sammelband behandelt musikalische Momente im Film als zentrales und wegweisendes Thema aktueller Filmmusikforschung. Musikalische Momente wie von Amy Herzog (2009) definiert, treten dann auf, wenn die konventionelle Beziehung im Film zwischen Bild und Ton umgekehrt wird, so dass das was wir sehen von dem was wir hören bestimmt wird. Diese Definition ermöglicht neue Ansätze um besonders das disruptive Potential dieser musikalischen Momente und Nummern als kreatives Mittel der Produktion audiovisueller Erzählungen zu untersuchen.
Tunes for 'toons Goldmark, Daniel; Goldmark, Daniel
2005., 20050910, 2005, 2005-10-10
eBook
In the first in-depth examination of music written for Hollywood animated cartoons of the 1930s through the 1950s, Daniel Goldmark provides a brilliant account of the enormous creative effort that ...went into setting cartoons to music and shows how this effort shaped the characters and stories that have become embedded in American culture. Focusing on classical music, opera, and jazz, Goldmark considers the genre and compositional style of cartoons produced by major Hollywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischers. Tunes for 'Toons discusses several well-known cartoons in detail, including What's Opera, Doc?, the 1957 Warner Bros. parody of Wagner and opera that is one of the most popular cartoons ever created.
THE URBAN SOUNDSCAPE IN SCI-FI CINEMA Alejandro, Contreras Koob; Albina, Boyarkina
Urbis et Orbis: Mikroistoriâ i Semiotika Goroda,
06/2022
1
Journal Article
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This topic of the city has attracted sustained interest in film studies. However, when discussing the soundtrack of contemporary films, the specifics of urban soundscape representation in such genres ...as horror and science fiction, in which exactly the sound component plays a decisive role, facilitated by actively developing technical capabilities, is left aside. In American fantasy cinema, the urban soundscape is of interest only when it not only illustrates the plot of the film but also when it’s part of the narrative. We are talking primarily about dystopias, in which interesting musical and noise solutions reflect the unfamiliar, which is characteristic of sci-fi environments. In the soundtracks of sci-fi films, the dramatic increase in the complexity of the technological aspect is particularly noticeable. The combination of technology and processes used in the creation of soundscape, atmospheres, noises, and effects is usually grouped under the term sound design, which literally means "design and sound engineering". During this period, sound design was finally established and became a critical component of film sound design, especially in the sci-fi and horror genres. In these films, the former division of sound into speech, synchronous noise, background noise, and music are retained. Still, through sound design, an acoustic element is introduced that has a narrative function but is not purely noise or music. Hyperrealistic sound becomes a typical example of the application of sound design, in which diegetic synchronous noises are enriched with nondiegetic timbres that introduce an additional semantic load. As the unfamiliar medium of a fantasy film struggles to convey a narrative and needs support and interpretation, music and noise take on this function. If in a fantasy film the environment, particularly the city, has no narrative function, the soundscape is unremarkable, but if it has such a function, it is how the sound conveys the narrative that is important. As for dystopias, a characteristic feature of the urban soundscape in this genre is the sharp contrast with the film's overall sound.
The so-called “cinepanettone” has been one of the most typical genres of Italian popular cinema since 1983. Compiled soundtracks made up of the latest pop hits and commercial house music are ...unquestionably among the most prominent conventions defining such movies. The goal of the article is to examine how such music became typically associated with the “cinepanettone”, in relation with the wider context of popular music and media in 1980s and 1990s Italy; and (following O’Leary’s suggestions) to discuss the “phenomenology” of such repertoire, in order to criticize the notion of “cinepanettoni” music as the quintessential “bad music”.
Predicting consumer behavior with Web search Goel, Sharad; Hofman, Jake M.; Lahaie, Sébastien ...
Proceedings of the National Academy of Sciences - PNAS,
10/2010, Letnik:
107, Številka:
41
Journal Article
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Recent work has demonstrated that Web search volume can "predict the present," meaning that it can be used to accurately track outcomes such as unemployment levels, auto and home sales, and disease ...prevalence in near real time. Here we show that what consumers are searching for online can also predict their collective future behavior days or even weeks in advance. Specifically we use search query volume to forecast the opening weekend box-office revenue for feature films, first-month sales of video games, and the rank of songs on the Billboard Hot 100 chart, finding in all cases that search counts are highly predictive of future outcomes. We also find that search counts generally boost the performance of baseline models fit on other publicly available data, where the boost varies from modest to dramatic, depending on the application in question. Finally, we reexamine previous work on tracking flu trends and show that, perhaps surprisingly, the utility of search data relative to a simple autoregressive model is modest. We conclude that in the absence of other data sources, or where small improvements in predictive performance are material, search queries provide a useful guide to the near future.
Tras su establecimiento, el cine compitió en España con otras formas de entretenimiento popular, como el teatro musical y las variedades, entre las que destacó el cuplé. Este artículo explora la ...presencia y el significado de las cupletistas en las películas mudas. Examina la relación entre la actuación cinematográfica y la música, el uso del cuerpo sexualizado de las artistas y la dimensión performativa de los cuplés en relación con la narrativa cinematográfica.
Godard revisits in
Le mépris
(1963) the Hollywood genre of the melodrama which enjoyed a large popularity in the 1950s. For this self-conscious reflection upon the genre of the melodrama, Godard ...hired Georges Delerue to write the music. Due to the involvement of the powerful mainstream cinema producers Carlo Ponti and Joseph E. Levine,
Le mépris
grew into a sizeable Hollywood-style production. Under the looking glass of these producers, Godard was expected to abandon his eccentric small-film budget habits and to comply with standard film production procedure. Pertaining to the music (and against his usual modus operandi), he conceived, together with Delerue, a detailed musical concept, spotted the film with Delerue present, integrated each and every cue Delerue composed into the film and respected the placement of the music cues as discussed with the composer. Nevertheless, behind the back of his producers, he was frequently tempted to diverge from the accepted norms and played with audience expectations. He introduced unexpected twists into the placement of the cues, which invite the audio viewer to question the established film music standards. Despite the rigid brief Godard received from his producers, he managed to dissect – with the assistance of Delerue’s lush, Hollywood-style score – the worn-out mechanics of the cinematic apparatus. The over-emphatic, idiomatic and stereotypical symphonic score inspired him to break the illusion of the artificially staged narrative.
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