Music Sound and the Moving Image最新文献

{"title":"Picture Editing and Music: A Marriage of Invisible Arts","authors":"P. Hirsch, R. Sadoff","doi":"10.5406/19407610.16.1.01","DOIUrl":"https://doi.org/10.5406/19407610.16.1.01","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"1 1","pages":"21 - 3"},"PeriodicalIF":0.1,"publicationDate":"2023-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78070768","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":"The Life and Legacy of Danijela Kulezic-Wilson","authors":"Elsie Walker, G. Anderson, R. Sadoff, K. Donnelly, L. Greene, Randolph Jordan, James Denis Mc Glynn, Miguel Mera, Aimee Mollaghan, K. Spring","doi":"10.5406/19407610.16.1.02","DOIUrl":"https://doi.org/10.5406/19407610.16.1.02","url":null,"abstract":"I first met Danijela Kulezic-Wilson through her article titled “A Musical Approach to Filmmaking: Hip-hop and Techno Composing Techniques and Models of Structuring in Darren Aronofsky’s π.” This article appeared in the very first issue of Music and the Moving Image and it was a transformative experience for me—not only because it made me hear the sonic logic of the film better, but because it made me understand how meaningful a musical approach to cinema could be. I met Danijela a few months later, at my first Music and the Moving Image conference in 2009 at New York University. Little did I know that she would become one of the most important presences in my personal as well as scholarly life. Danijela’s writing about the π soundtrack is a fine balance between discipline and freedom of expression, tautness and energy, meticulous form and creative willfulness. To my surprise, she embodied these rarely combined qualities. It is common to be inspired by another scholar’s work, but it is unusual to be just as inspired by who they are. Danijela was a completely unified person: her approach to cinema and music was representative of her approach to all forms of life. She met films, people, and unforeseeable challenges with open-mindedness and worked hard to understand them without ever imposing her own will on them too much. She was an extraordinary survivor of many adversities and a revolutionary scholar of film soundtracks. She turned her struggles into beautiful writings, redirecting what she knew of tragedies into hearing music everywhere. The impact of her presence in the world, and especially the conversations she created through her writing, will not end. Danijela died on April 15, 2021. Her death was a deep shock to the entire international community of soundtrack scholars. This article is a transcript of the tributes paid to Danijela at a keynote for the Music and the Moving Image conference on May 27, 2022. Those readers who knew Danijela will recognize that the references and the reflections of these speeches paint a suitably multidimensional portrait of a beloved colleague and friend. We hope that those in mourning for her will feel heartened and uplifted by this loving act of remembrance. Those readers who did not have Keynote Panel Presentation, Music and the Moving Image XVIII, 2022","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"11 1","pages":"22 - 36"},"PeriodicalIF":0.1,"publicationDate":"2023-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81933284","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":"A Neglected Story: Observations on the Manuscript of Wu Dajiang’s Film Score for Painted Skin (1993)","authors":"Shuang Wang","doi":"10.5406/19407610.16.1.04","DOIUrl":"https://doi.org/10.5406/19407610.16.1.04","url":null,"abstract":"Abstract:The manuscript of Wu Dajiang’s score for Painted Skin is the only one of King Hu’s film music scores known to exist today. The manuscript represents new and direct evidence of King Hu and his film composers’ working method. With the aim of investigating the presentational force of the film music, this article reviews several pivotal leitmotifs and their repetitions. Based on the interviewees’ testimonies, this study reveals that the production of the music could not be ascribed to Wu Dajiang alone, as credited in the film. Evidently, King Hu’s artistic intentions carried considerable weight in the musical decision-making process, and the manuscript reflects the collaborative nature of the music production process. Music assistant Lu Lianghui’s substantial contribution is of particular importance. His compositional devices, including his design of repetitive leitmotifs and a new type of operatic scoring, which features Nuo Opera, make the presentational force of the music self-explanatory. The effective integration of the visual and audio elements owes much to King Hu and Lu Lianghui’s close collaboration.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"4 1","pages":"51 - 72"},"PeriodicalIF":0.1,"publicationDate":"2023-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84214851","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":"Criticality and Film Music","authors":"R. Stopford","doi":"10.3828/msmi.2022.10","DOIUrl":"https://doi.org/10.3828/msmi.2022.10","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43097634","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":"Ron Rodman, E. Mazierska","doi":"10.3828/msmi.2022.11","DOIUrl":"https://doi.org/10.3828/msmi.2022.11","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45322145","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":"'Everything About Being Indie Is All Tied to Not Being Black': Indie Music, Race, and Identity in Medicine for Melancholy and Pariah","authors":"J. Sexton","doi":"10.3828/msmi.2022.9","DOIUrl":"https://doi.org/10.3828/msmi.2022.9","url":null,"abstract":"Abstract:In this article I will explore the use of indie music within two African American independent films, Medicine for Melancholy (2008) and Pariah (2011). These two films are rare examples of African American films featuring an extensive employment of indie music, despite a huge growth in such music appearing within feature films over the past twenty years. I investigate some of the racial contours of indie music and examine how it is utilised within the two films under analysis. Both these films employ indie music to explore individuals who do not conform to some of the more stereotypical characteristics of black identities. I frame these analyses within a broader discussion of the links between indie music–particularly indie rock– and whiteness, exploring prejudices against, and marginalisation of, many black music artists within indie music cultures.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"16 1","pages":"129 - 152"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44515310","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":"Tape Recording Hollywood","authors":"Eric Dienstfrey","doi":"10.3828/msmi.2022.8","DOIUrl":"https://doi.org/10.3828/msmi.2022.8","url":null,"abstract":"Abstract:This article details the historical factors that shaped Hollywood's adoption of magnetic recording during the late 1940s and early 1950s. It draws upon economic theories of technological change, archival correspondence, technical records, analyses of postproduction workflows, and delineations of the structural constraints that limited how the film industry initially wired magnetic media into its production and postproduction stages. In so doing, I explain why the adoption of such a revolutionary recording technolog y did not initially usher in changes to the industry's modes of acoustical representation and why these changes instead took place several decades later.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48110612","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":"Video Essay: Footsteps","authors":"Evelyn Kreutzer","doi":"10.3828/msmi.2022.7","DOIUrl":"https://doi.org/10.3828/msmi.2022.7","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49032452","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":"Music, Noise, and Nature: Energetic Ambiguities in Benedikt Erlingsson's Woman at War","authors":"Heidi Hart, B. Schirrmacher","doi":"10.5406/19407610.15.3.01","DOIUrl":"https://doi.org/10.5406/19407610.15.3.01","url":null,"abstract":"Abstract:Unlike most films dealing with the challenges of climate change or globalization, Benedikt Erlingsson's film Woman at War (2018) is full of energetic humor and contradictions. The protagonist's conflicting roles as choir director, eco-warrior, and future adoptive mother undermine expected binaries, as do onscreen musicians in this communication of complexity. In our intermedial and ecocritical analysis, we demonstrate how the film's sound design exploits ambiguities of diegesis, nature and culture, music and noise, and order and revolt to generate a more empowering than merely entertaining plot.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"25 1","pages":"19 - 3"},"PeriodicalIF":0.1,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76567369","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":"The Soundtrack of The Killing, its Orientalist Features, and the Implicit Other","authors":"Kaapo Huttunen","doi":"10.5406/19407610.15.3.03","DOIUrl":"https://doi.org/10.5406/19407610.15.3.03","url":null,"abstract":"Abstract:This study focuses on the soundtrack of the Danish television series The Killing, and especially on its stylistic features that point to the Middle East. Moreover, it takes a critical look at the strategies used in the music and sound design of the series that relate to immigration and Islamic culture in particular.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"115 7","pages":"45 - 59"},"PeriodicalIF":0.1,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72386659","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}