{"title":"Contributors to Issue 18:1","authors":"","doi":"10.3828/msmi.2024.7","DOIUrl":"https://doi.org/10.3828/msmi.2024.7","url":null,"abstract":"","PeriodicalId":511959,"journal":{"name":"Music, Sound, and the Moving Image","volume":"37 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141694367","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":"Dubbing in Favour of Distinction","authors":"Daniel DE ANDRADE LIMA","doi":"10.3828/msmi.2024.5","DOIUrl":"https://doi.org/10.3828/msmi.2024.5","url":null,"abstract":"\u0000 Dubbing has been employed to fabricate characters’ bodies onscreen since the inception of spoken and sung cinema. In Hollywood musicals, this technical device has given rise to various social problems, including uncredited singers, labour exploitation, and identity-related issues. In this context, this article explores how dubbing has been consistently used as a tool for constructing characters’ bodies onscreen, producing social differences in hierarchical ways. The discussion focuses on film scenes dubbed by the ghost singer Marni Nixon since, in the films on which she most famously worked, characters’ voices are important aspects of their racial, class, national, and gendered distinctions. Throughout the analysis, the essay also engages with other work on dubbed cases, such as Masha Siefert’s (1995), Merrie Snell’s (2020), and Jeff Smith’s (2003), to facilitate a broader discussion on the politics of dubbing in film musicals. In doing so, the paper frames various normative notions about body, voice, and identity highlighted by dubbing. Ultimately, it posits that dubbing constructs characters’ bodies onscreen by often aligning with normative ideals while also opening risks of exposing cinematic artifices in queer ways.\u0000","PeriodicalId":511959,"journal":{"name":"Music, Sound, and the Moving Image","volume":"51 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141711137","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":"‘You Want Drama? Go to the Opera!’","authors":"Johanna Ethnersson Pontara","doi":"10.3828/msmi.2024.3","DOIUrl":"https://doi.org/10.3828/msmi.2024.3","url":null,"abstract":"\u0000 This article addresses the role played by opera in fiction film by drawing attention to the action film\u0000 Mission: Impossible – Rogue Nation\u0000 (Christopher McQuarrie, 2015). Giacomo Puccini’s\u0000 Turandot\u0000 (1926) is treated here in a way that makes it appear as something more than a diegetic background and energy reinforcement for action scenes. By taking into consideration Daniel Yacavone’s (2012; 2014) view of film as a combination of a construction and a known world, I argue that the use of opera displays a stretching of the boundaries between fiction and real life, which in turn has implications for how the film can be regarded as an opera–film encounter. The film makes the opera emerge as significant in its own right through an intricate interaction between fictional denotation and engagement with the lived reality of the film viewer. Ultimately, I suggest that\u0000 Rogue Nation\u0000 provides an opportunity not only to reconsider a common way of approaching intersections between opera and fiction film, but also to extend and refine Yacavone’s theory.\u0000","PeriodicalId":511959,"journal":{"name":"Music, Sound, and the Moving Image","volume":"22 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141699372","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: Choosing Death Row Songs","authors":"John Gibbs","doi":"10.3828/msmi.2024.2","DOIUrl":"https://doi.org/10.3828/msmi.2024.2","url":null,"abstract":"","PeriodicalId":511959,"journal":{"name":"Music, Sound, and the Moving Image","volume":"2007 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141707182","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":"Scoring the Nation","authors":"Steven Sehman, Niall Ó MURCHÚ","doi":"10.3828/msmi.2024.4","DOIUrl":"https://doi.org/10.3828/msmi.2024.4","url":null,"abstract":"\u0000 This article analyses how transnational co-productions render Irish history audio-visually by comparing the soundtracks of\u0000 Some Mother’s Son\u0000 (1996) and\u0000 The Wind that Shakes the Barley\u0000 (2006). The puzzle is whether history films can enhance immersive perceptual experiences of place by using local music, while catering to the audiovisual skills and expectations of global audiences. The study compares Bill Whelan’s and George Fenton’s respective soundtracks. On the one hand, Whelan’s avowedly Irish soundtrack performed by the Irish Film Orchestra with virtuosos from the Riverdance Orchestra crowds the images and prescribes audience feelings. On the other, Fenton lightly melds classical film orchestration with Irish melody and instrumentation and\u0000 The Wind that Shakes the Barley\u0000 blends diegetic singing with its more spacious soundtrack. The conclusion is that combining local instruments and diegetic song with limited cinematic orchestration succeeds better than neo-traditional instrumentation in screening Irish history.\u0000","PeriodicalId":511959,"journal":{"name":"Music, Sound, and the Moving Image","volume":"8 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141701882","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}
京公网安备 11010802042870号
求助内容：
应助结果提醒方式：