{"title":"Narration, Voice, and Character in the Soundtrack to David Fincher’s Gone Girl","authors":"Trevor Penoyer-Kulin","doi":"10.5406/19407610.15.2.03","DOIUrl":null,"url":null,"abstract":"Abstract:This article looks at how the soundtrack for the movie Gone Girl operates on several different narratological levels: it represents characters, it expresses character psychology, and sometimes even seems controlled by one particular character. In this way, it informs how we read the dynamic between the film’s two married protagonists.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"12 1","pages":"44 - 59"},"PeriodicalIF":0.5000,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Sound and the Moving Image","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/19407610.15.2.03","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract:This article looks at how the soundtrack for the movie Gone Girl operates on several different narratological levels: it represents characters, it expresses character psychology, and sometimes even seems controlled by one particular character. In this way, it informs how we read the dynamic between the film’s two married protagonists.