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Debasing the voice: Subversive vocality in Harmony Korine’s Trash Humpers 贬低声音:和谐Korine的垃圾Humpers中的颠覆性声音
The Soundtrack Pub Date : 2012-06-01 DOI: 10.1386/ST.5.1.37_1
Shaun Inouye
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引用次数: 0
Music, lust and modernity: Jazz in the films of Ingmar Bergman 音乐、欲望与现代:英格玛·伯格曼电影中的爵士乐
The Soundtrack Pub Date : 2011-10-01 DOI: 10.1386/ST.4.2.89_1
E. Hedling
{"title":"Music, lust and modernity: Jazz in the films of Ingmar Bergman","authors":"E. Hedling","doi":"10.1386/ST.4.2.89_1","DOIUrl":"https://doi.org/10.1386/ST.4.2.89_1","url":null,"abstract":"This article explores the recurrent use of jazz music in some of the early films of the Swedish film director Ingmar Bergman: Kris/Crisis (1946), Till gladje/ To Joy (1949), Sommaren med Monika/Summer with Monika (1953), En lektion i karlek/A Lesson in Love (1954), Kvinnodrom/Dreams (1955) and Tystnaden/The Silence (1963). In these films jazz is presented as derived from the corporeal body, as powerfully erotic and as culturally alien; it is also directly connected to a potentially destructive form of ‘modern’ female sexuality that is socially damaging. In each of the films this leads to social embarrassment, personal failure or even tragedy for the characters involved. The article considers the relationship between Bergman’s use of jazz to express distaste for modernity in relation to the cultural and social transformation of Sweden during the post-war period, and argues that the director’s attitude to the genre reflected a broader, often racist, approach to American popular culture generally and to African American music specifically within Swedish intellectual life. (Less)","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126504709","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}
引用次数: 1
On lip-sync: Three audio-visual vignettes from the 1970s 假唱:70年代的三首视听小插曲
The Soundtrack Pub Date : 2011-10-01 DOI: 10.1386/ST.4.2.153_1
Gabrielle Gopinath
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引用次数: 1
Palimpsest, porosity and subception: The heard and the unheard in Paul Winkler’s Bondi and Sydney Harbour Bridge 重写，多孔性和潜台词:保罗·温克勒的《邦迪和悉尼港大桥》中听到的和没听到的
The Soundtrack Pub Date : 2011-10-01 DOI: 10.1386/ST.4.2.71_1
Steven J. Campbell
{"title":"Palimpsest, porosity and subception: The heard and the unheard in Paul Winkler’s Bondi and Sydney Harbour Bridge","authors":"Steven J. Campbell","doi":"10.1386/ST.4.2.71_1","DOIUrl":"https://doi.org/10.1386/ST.4.2.71_1","url":null,"abstract":"Two 1970s films by the German-Australian experimental film-maker Paul Winkler visually capture a duo of significant Sydney icons, Sydney Harbour Bridge and Bondi Beach, the visuals in each film supported asynchronously with minimal soundtracks. In this article Michel Chion's (2009) notions of palimpsest (the idea of sound film as silent film overwritten with sound) and porosity (the connections between different structural layers of a film), are examined and used as the basis of an analysis of the deployment of sound in these two films. Dominique Nasta's focus on psychologically imagined sound (subception) is then explored, with various possible imagined sounds subjectively derived from the Winkler visuals presented. Finally, existing and imagined sounds are discussed in relation to what Alex Gerbaz refers to as Winkler's 'fragmented aesthetic'.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123069601","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}
引用次数: 4
Surrounded by sound: the aesthetics of multichannel and hypersonic soundscapes and aural architectures 被声音包围:多声道和高超声速声景和听觉建筑的美学
The Soundtrack Pub Date : 2011-08-11 DOI: 10.1386/ST.4.1.5_1
Sarah Atkinson
{"title":"Surrounded by sound: the aesthetics of multichannel and hypersonic soundscapes and aural architectures","authors":"Sarah Atkinson","doi":"10.1386/ST.4.1.5_1","DOIUrl":"https://doi.org/10.1386/ST.4.1.5_1","url":null,"abstract":"This article explores multichannel sound and hypersonic audio and investigates the impact that cinematic technologies have had on our sonic perception and appreciation. The core methodology of these explorations has been through practice, and the evolution of a 7.1 surround sound and hypersonic composition and installation: auditoryum (Sarah Atkinson and Marley Cole, 2010). Through reflection upon this practice, this article addresses the ways in which auditoryum has foregrounded and extended theories of the soundscape and aural architecture. It will also discuss the impact of audio-related technological developments on soundtrack and sound design aesthetics, principles and practice.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":" 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113953142","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}
引用次数: 1
Sound matters: Towards an enactive approach to hearing media 声音很重要:对听觉媒体采取主动态度
The Soundtrack Pub Date : 2011-08-11 DOI: 10.1386/ST.4.1.33_1
Lisa M. Schmidt
{"title":"Sound matters: Towards an enactive approach to hearing media","authors":"Lisa M. Schmidt","doi":"10.1386/ST.4.1.33_1","DOIUrl":"https://doi.org/10.1386/ST.4.1.33_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122497636","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}
引用次数: 3
The Soundtrack – CINESONIKA 1 Issue 原声- CINESONIKA 1期
The Soundtrack Pub Date : 2011-08-11 DOI: 10.1386/ST.4.1.3_2
Michael Filimowicz
{"title":"The Soundtrack – CINESONIKA 1 Issue","authors":"Michael Filimowicz","doi":"10.1386/ST.4.1.3_2","DOIUrl":"https://doi.org/10.1386/ST.4.1.3_2","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131173989","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}
引用次数: 1
Sonic motifs, Structure and Identity in Steve McQueen’s Hunger 史蒂夫·麦奎因《饥饿》中的声音主题、结构和身份
The Soundtrack Pub Date : 2011-08-01 DOI: 10.1386/ST.4.1.23_1
Adam Melvin
{"title":"Sonic motifs, Structure and Identity in Steve McQueen’s Hunger","authors":"Adam Melvin","doi":"10.1386/ST.4.1.23_1","DOIUrl":"https://doi.org/10.1386/ST.4.1.23_1","url":null,"abstract":"Since its release in 2008, Steve McQueen’s Hunger has received critical acclaim forits powerful and uncompromising portrayal of the 1981 ‘dirty protest’ and subsequenthunger strike by Irish Republican inmates in Northern Ireland’s infamousMaze prison. In most instances, the focus of critics’ attention has been on the film’spolitical connotations, its set pieces – in particular the much talked about 22-minutedialogue scene at its heart – and, perhaps unsurprisingly given McQueen’s backgroundas a visual artist, its visual language. Yet it is the film’s use of sound, sowidely acknowledged by writers yet left relatively under-discussed, that is perhapsits most intriguing aspect. The relatively sparse use of dialogue in much of the filmaffords space for a rich and prominent use of sonic material – including musicalcues – and an attention to aural detail that mirrors that of the film’s visual imagery.In addition, a closer reading of the film reveals a more integral use of sound in theform of a series of recurrent sonic motifs that, over the course of the film, serve asan important structural tool, framing its narrative content while seemingly playingon established political associations to simultaneously affirm and nullify the sectariandivide of its characters. By exploring the motific content and context of bothHunger’s sound and composed, musical components, this article aims to provide aninsight into one of the most striking cinematic works to emerge in recent years.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121597762","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}
引用次数: 4
An audio-visual Gallivant: Psychogeographical soundscapes in the films of Andrew Ktting 视听大师:安德鲁·凯汀电影中的心理地理音景
The Soundtrack Pub Date : 2010-12-01 DOI: 10.1386/ST.3.2.125_1
Aimee Mollaghan
{"title":"An audio-visual Gallivant: Psychogeographical soundscapes in the films of Andrew Ktting","authors":"Aimee Mollaghan","doi":"10.1386/ST.3.2.125_1","DOIUrl":"https://doi.org/10.1386/ST.3.2.125_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128385878","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}
引用次数: 1
Surfing a political soundscape: Kathryn Bigelow's Point Break 浏览政治音景:凯瑟琳·毕格罗的《Point Break》
The Soundtrack Pub Date : 2010-12-01 DOI: 10.1386/ST.3.2.97_1
Heidi Wilkins
{"title":"Surfing a political soundscape: Kathryn Bigelow's Point Break","authors":"Heidi Wilkins","doi":"10.1386/ST.3.2.97_1","DOIUrl":"https://doi.org/10.1386/ST.3.2.97_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125393536","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}
引用次数: 1
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