{"title":"大卫·芬奇《消失的爱人》原声配乐中的旁白、声音和角色","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":"{\"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}","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}
Narration, Voice, and Character in the Soundtrack to David Fincher’s Gone Girl
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.
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