Audio History of Film: Introduction Pauleit, Winfried; Greiner, Rasmus; Frey, Mattias
Research in film and history,
11/2018
New Approaches
Journal Article
Recenzirano
Odprti dostop
The relationship between film and history has assumed many and varied forms over the course of time. During the twentieth century, film increasingly became a medium through which contemporary ...political and historical events were discussed and interpreted.1 Cinematic narration of history influenced twentieth-century film production in myriad ways and constantly challenged “classical” historiography, especially its function of disseminating historical knowledge.
Based on a comparative analysis of two Chilean films produced in the beginnings of the sound era, El hechizo del trigal (The Wheatfield Spell, Eugenio de Liguoro, 1939) and Escándalo (Scandal, Jorge ...Délano, 1940) this article offers a study of the uses of music within Chilean cinema, incorporating not only the internal role of music but also its historical and social dimensions. In so doing, I seek to contribute to a field that has barely been developed in the study of music in Chile.
This article investigates the usage of music and sound in the 2015 video game Bloodborne, exploring how the game's aesthetics of difficulty and maximalism exert a disruptive influence for a ...struggling player. In particular, it focuses on how the soundtrack attenuates the
series of escalating monster boss battles around which the game is structured. Combining 'Gothic' and 'Weird' horror tropes with the techniques of musical modernism, these composite 'musical monsters' gesture, disturbingly, towards new kinds of monstrous
materialities that challenge a simple distinction between sound and image.
What can commercial advertisements gain from creative 'borrowing' of film music? One probable answer is that it vests the product advertised with a more powerful emotional impact. But what are the ...limitations of effective intertextuality between film and advertising established through the use of a film soundtrack? The present study of 100 television ads (1960-2016) offers 4 models of intertextuality through the analysis of musical patterns, opening up a hitherto unexplored line of research.
In the 1970s, film language faced a change towards a more intensified relationship with the viewer. In my contribution, I consider the case study of “Yuppi Du”, a rock opera authored by singer ...Adriano Celentano in 1975, one of the most conscious attempts in Italy to follow the new trends in musical film. On the basis of recent researches in the psychology of rhythm and musical timing, I delve into the emotional qualities of a narrative and stylistic formula which is structured not by the plot, but by a succession of songs comparable with a concept album, or a pop catalogue.
With its schema-activating potential to influence an audience’s perception and interpretation of film plot and protagonists, film music goes far beyond the role of an emotionalizing accessory in film ...contexts. For this review, 24 German and English empirical studies that tested music’s potential to convey meaning were identified to be compared in their research questions, the characteristics of their methods, designs, samples, and stimulus materials, as well as main results. Depending on the degree of realism and the abstraction level of the audio-visual stimulus material, differently connoted music or music of different genres trigger supra-individual associations, which make the recipients’ perceptual patterns and evaluations of film plot and protagonists predictable. The review provides a systematization of music’s effects as well as methodological and content-related indications for future research.
RESUMEN En este artículo, analizo la música de tres documentales producidos en el marco de los procesos de transformación social durante la Unidad Popular. Planteo que una serie de factores ...contribuyeron a un giro en el uso de la música en el documental desde una música de vanguardia especialmente compuesta, al uso de grabaciones preexistentes. Me interesa particularmente cómo el uso de estas músicas buscó generar en el público una identificación compartida. Si bien a primera oída el repertorio parece circunscrito mayoritariamente a la Nueva Canción Chilena, un análisis en mayor profundidad revela un escenario más complejo en que un amplio rango de géneros y estilos fueron utilizados para promover discursos asociados a la noción de lucha de clases y de identidad política.
Les dix-sept études musico-filmiques proposées par l’ouvrage tentent de dégager les traits stylistiques marquants de duos entre réalisateurs et compositeurs par-delà la diversité de leurs œuvres.Les ...duos de créateurs, particulièrement en ce qui concerne les réalisateurs et les compositeurs, sont souvent l’objet d’une idéalisation, et il est fréquent de trouver des expressions comme « accords parfaits », « relation fusionnelle », tandem, frères, couple… L’ouvrage tente de dépasser ce stade pour travailler la notion de duo en proposant plusieurs stades, de la collaboration « au service de l’émotion collective », où la créativité reste soumise à des impératifs de divertissement et de rentabilité, à « l’alchimie cinémusicale » où le duo est peu à peu amené à élaborer une poétique musico-filmique qui lui est propre.
In the following article, I will show that Austrian music plays a very particular role in international film and television productions, as well as in Austrian TV productions, that explicitly address ...the Holocaust and National Socialism, especially when National Socialist violence and perpetrators are represented. On the basis of this observation, I argue that irrespective of the general question of a perceived difference between Austria and Germany, a specific “Austrianness,” which is mediated in many ways via the sound level, has developed into a global pop cultural stylistic device in the characterization of Nazi violence since the late 1970s. This development is analyzed against the background of the role played by Austrian music in the first Austrian films dealing with National Socialism. From this point, I also set off in search of “The Sound of Austria” in Claude Lanzmann’s nine-hour documentary Shoah and the two Hollywood blockbusters Inglourious Basterds and Schindler’s List. What role does the image of Austria as a “country of music” play in these very different films and film genres that deal with the Shoah? How does the approach develop historically and geographically? previous article back to index next article
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