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Music Sound and the Moving Image最新文献

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Sounding the Middle Ages: A Cinematic Chronotope 听起来像中世纪:一部电影时钟
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-10-01 DOI: 10.5406/19407610.15.3.02
Vasco Zara
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引用次数: 0
Searching for Soul, Reframing the Pursuit of Capital: A Comparison of Kahlil Joseph’s and Derek Pike’s ‘I Need A Dollar’ Music Videos 寻找灵魂，重塑资本追求——卡利尔·约瑟夫和德里克·派克的《我需要一美元》音乐视频比较
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-07-01 DOI: 10.3828/msmi.2022.3
J. O. Jackson
{"title":"Searching for Soul, Reframing the Pursuit of Capital: A Comparison of Kahlil Joseph’s and Derek Pike’s ‘I Need A Dollar’ Music Videos","authors":"J. O. Jackson","doi":"10.3828/msmi.2022.3","DOIUrl":"https://doi.org/10.3828/msmi.2022.3","url":null,"abstract":"Abstract:Two music videos were commissioned for Aloe Blacc’s breakthrough song ‘I Need A Dollar’ (2010). The Harlem, New York version directed by Kahlil Joseph adopts a split-screen technique, depicting an unnamed man negotiating the city’s busy streets while, at the same time, framing Blacc as a directionless musician singing wistfully at the window of a dilapidated flat. Derek Pike’s Las Vegas, Nevada version, on the other hand, portrays the singer as a struggling musician traversing the desert before – unexpectedly – winning the jackpot at a casino. This article explores two main lines of argument. Firstly, I explore how institutional and industrial contexts result in two distinguishable music videos, suggesting that although both versions are created in similarly professional and commercialised settings one video is produced within a more ‘independent’ environment. Secondly, I explore how two different music videos can emphasise or de-emphasise certain elements of a song’s content and meaning, drawing from Emily J. Lordi’s theorisation of ‘soul’ to suggest that the ‘soul music’ qualities of Blacc’s ‘I Need A Dollar’ record are emphasised when practitioners adopt a more ‘soulful’ approach to music video creation (Lordi, 2020).","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"16 1","pages":"53 - 77"},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42899961","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: 0
‘A Swarm of Sound’ “一群声音”
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-07-01 DOI: 10.3828/msmi.2022.2
Zachary Bresler, S. Hawkins
{"title":"‘A Swarm of Sound’","authors":"Zachary Bresler, S. Hawkins","doi":"10.3828/msmi.2022.2","DOIUrl":"https://doi.org/10.3828/msmi.2022.2","url":null,"abstract":"\u0000This article explores the idea of audiovisual immersion through the portal of the virtual reality music video. Our focus falls on a close reading of Björk’s video, ‘Family’, which addresses questions of immersion in relation to user-experience, staging, and technological innovation. This article draws on the authors’ responses to the video by considering the implications of VR immersion in a new generation of music video productions. As part of the methodology on offer, a model for music analysis is devised for conceptualising virtual audiovisual space (VAVS) and the inextricable relationships between production and compositional design.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44807946","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: 2
Soundtracking the City Break: Library Music in Travel Television 城市休息的音轨:旅游电视中的图书馆音乐
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-07-01 DOI: 10.5406/19407610.15.2.01
Toby Huelin
{"title":"Soundtracking the City Break: Library Music in Travel Television","authors":"Toby Huelin","doi":"10.5406/19407610.15.2.01","DOIUrl":"https://doi.org/10.5406/19407610.15.2.01","url":null,"abstract":"Abstract:Library music is used extensively in television production, but its central role is overlooked by scholars and viewers alike. Using travel television as a case study, this article examines the process of selecting library music and the impact of its use—especially when the same tracks function across multiple series.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"49 1","pages":"24 - 3"},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76397774","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: 0
Narrating the Uncanny: The Music of Les Revenants 讲述神秘:《荒野猎人》的音乐
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-07-01 DOI: 10.5406/19407610.15.2.02
Edward Venn, A. McAuley
{"title":"Narrating the Uncanny: The Music of Les Revenants","authors":"Edward Venn, A. McAuley","doi":"10.5406/19407610.15.2.02","DOIUrl":"https://doi.org/10.5406/19407610.15.2.02","url":null,"abstract":"Abstract:This article explores the narrative function of music in the French TV drama Les Revenants and its connection to the literary tradition of the fantastic. It argues that the music enacts the narrative device of hesitation to provide generic, timbral, tonal, semantic, and temporal ambiguity and, in doing so, gives voice to the show’s characteristic fantastical presentation of the Freudian uncanny.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"39 1","pages":"25 - 43"},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89862019","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: 0
Contributors to Issue 16:1 第16:1期投稿人
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-07-01 DOI: 10.3828/msmi.2022.5
{"title":"Contributors to Issue 16:1","authors":"","doi":"10.3828/msmi.2022.5","DOIUrl":"https://doi.org/10.3828/msmi.2022.5","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42771165","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: 0
Narration, Voice, and Character in the Soundtrack to David Fincher’s Gone Girl 大卫·芬奇《消失的爱人》原声配乐中的旁白、声音和角色
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-07-01 DOI: 10.5406/19407610.15.2.03
Trevor Penoyer-Kulin
{"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":"https://doi.org/10.5406/19407610.15.2.03","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":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88193757","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: 0
Electric Ladies in Playback 回放中的电动女士
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-07-01 DOI: 10.3828/msmi.2022.1
Amy Skjerseth
{"title":"Electric Ladies in Playback","authors":"Amy Skjerseth","doi":"10.3828/msmi.2022.1","DOIUrl":"https://doi.org/10.3828/msmi.2022.1","url":null,"abstract":"\u0000Playback, the process of separately recording actors’ images and voices in cinema and media, has a long history of cultural stereotyping. This article analyses how performers are typecast when media technicians manipulate sound/image synchronisation in lip sync and dubbing. Inspired by Janelle Monáe’s oeuvre, I focus my study through the figure of the electric lady - female simulacra who are programmed by heteronormative, patriarchal operators. I trace the electric lady back to talking machines (Faber’s Euphonia) and early phonograph recordings (minstrelsy and opera singer Agnes Davis) to show how proto- and post-phonographic notions of playback are bound up with racialised and gendered stereotypes. Drawing on the work of Alice Maurice, Mary Ann Doane, Jennifer Fleeger, and others, I illustrate how industrial practices of playback reproduce the sounds and images of ideal femininity and obedient Others. In her ‘emotion picture’ Dirty Computer (2018), Monáe transforms history’s electric lady from obstinate object to empowered subject by unmasking homogenising operations of playback. Monáe lip syncs as multiple personae to showcase the material heterogeneity of her Black, queer, and feminist identities. Ultimately, Monáe’s hybrid personae mobilise Doane’s notion of the masquerade in their defiance of playback norms that would bind Monáe to racialised and gendered images.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43657744","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: 0
A Disney Requiem? Iterations of the “Dies irae” in the Score to The Lion King (1994) 迪士尼安魂曲?《狮子王》(1994)配乐中反复出现的“末日”
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-04-01 DOI: 10.5406/19407610.15.1.03
Daniel Trocmé-Latter
{"title":"A Disney Requiem? Iterations of the “Dies irae” in the Score to The Lion King (1994)","authors":"Daniel Trocmé-Latter","doi":"10.5406/19407610.15.1.03","DOIUrl":"https://doi.org/10.5406/19407610.15.1.03","url":null,"abstract":"Abstract:In Hans Zimmer’s score to The Lion King (1994), the “Dies irae” melody not only functions as a standard shorthand for death (as in many scores) but is also of underlying structural importance in several of the film’s cues. Thus, the tune retains a sense of secularized association with death while reclaiming some of its spiritual associations with the Requiem Mass.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"43 1","pages":"38 - 66"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83680617","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: 0
Music Production Technology in New Nollywood Soundtracks: Context, Application, and the Effect of Globalization 新诺莱坞配乐中的音乐制作技术:背景、应用和全球化的影响
IF 0.1
Music Sound and the Moving Image Pub Date : 2022-04-01 DOI: 10.5406/19407610.15.1.02
Obumneke S. Anyanwu, E. Sylvanus
{"title":"Music Production Technology in New Nollywood Soundtracks: Context, Application, and the Effect of Globalization","authors":"Obumneke S. Anyanwu, E. Sylvanus","doi":"10.5406/19407610.15.1.02","DOIUrl":"https://doi.org/10.5406/19407610.15.1.02","url":null,"abstract":"Abstract:New Nollywood refers to a segment of Nigerian cinema that began in 2012. The industry is based in Lagos and focuses on Hollywood-style approaches to film and film music. Generally, very little has been written about technologies in the film music of Nigerian cinema. This article is the first to focus explicitly on the impact of modern music production technology in New Nollywood soundtracks. Adopting descriptive as well as survey and historical methods of research, this article reveals what the specific and available technologies for film music in New Nollywood were and currently are; how the practitioners have employed them; as well as how the effects of such technologies have shaped the industry’s cultural and economics choices. In addition to a review of the broad literature on cinema and film music, the methodology also relies on studio observation sessions with current industry practitioners as well as an analysis of the New Nollywood film The Bling Lagosians (2019). Taken together, findings reveal that the quality of New Nollywood film music is fluid and reflective of changes to the economic, cultural, and technological preferences of practitioners.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":"35 1","pages":"22 - 37"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81637136","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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