1,325 research outputs found
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Towards 3-D Sound: Spatial Presence and the Space Vacuum
This chapter demonstrates the evolution of relationships between sound design and music in cinematic representations of the interstellar space vacuum. Mera provides a framework for understanding how audiences believe they are physically present in the represented environment and argues that, in the late 2000s, we move towards three-dimensional (3-D) sound, an aesthetic and technical extension of the superfield and the ultrafield as defined by Chion and Kerins, respectively. 3-D Sound’s primary characteristic is the emancipation of music from a fixed sound-stage spatialization, resulting in greater fluidity between sound design and music. This chapter examines the relationship between two types of spatial presence, articulating both the audience’s suspension of disbelief within a film’s narrative world and the spatial presence of sound and music within a multichannel cinema environme
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Popular Music on Screen and the Road to Brexit
This article traces some of the political and cultural implications of the use of popular music and popular musicians in British films of the 1960s and 1970s, demonstrating different, and sometimes incompatible, facets of the British psyche in relation to identity, independence, nationalism, nostalgia, and exoticism. These divergent perspectives seem to have emerged and ruptured in the 2016 Brexit vote, but are in fact deep-rooted and central to the British circumstance. Using Adler-Nissen et al.’s concept of the performativity of Brexit, which works both as a promise of a different future and to establish a specific past, various interrelationships between culture, identity politics, stardom, and music can be determined. These are explored through three general typologies — ‘Discovering Europe’, ‘Defeating Europe’, and ‘Reappraising Home’ — in order to demonstrate that the decision to leave the EU in 2016 was not a flash in the pan, but rather a long and protracted journey reflecting conflicted notions of freedom and accountability
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Invention/Re-invention
This article examines the relationship between texts that are re-invented for different media and/or contexts including: film remakes, prequels and sequels, video games that become films and vice versa, internet mashups, and television series that move across geographical borders. The article points to significant sources in this emerging field and presents some of the challenges that arise in relation to its study. In particular questions of originality, fidelity, repetition and difference as sources of pleasure, and subject position are examined, leading to suggestions for possible future research
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Agitprop Rap? "Ill Manors" and the Impotent Indifference of Social Protest
This chapter analyses the content and impact of Plan B’s protest song "Ill Manors" which was composed in response to the 2011 English Riots. I argue that, notwithstanding the musical and lyrical brilliance of the song, its political agenda was limited because of the complex socioeconomic climate into which it emerged. By aligning Žižek’s notion of post-politics with Bauman’s concept of the underclass as collateral casualties of consumerism, I investigate how the vestiges of political protest could be seen to be assimilated by liberal capitalist ideology. This chapter shows how articulate musical rage followed a series of inarticulate violent acts formed in an age of political indifference
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Review of Peter Franklin, Seeing Through Music: Gender and Modernisms in Classic Hollywood Film
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Outing the Score: Music, narrative and collaborative process in Little Ashes
The detail of the relationship between artist Salvador Dalà and poet Federico GarcÃa Lorca has long been the subject of speculation and debate amongst historians and biographers. In the feature film Little Ashes (Morrison, 2009), Dalà and Lorca’s feelings are shown deepening into a love affair that the sexually repressed painter tries and fails to consummate. As a substitute, Lorca sleeps with a female friend, with Dalà present as a voyeur. The filmic presentation and interpretation of these sexual relationships raises interesting challenges for the narrative positioning of the score. Taking as a starting point Levinson’s theory of the narrative function of nondiegetic music, I explore the agency of the score in relation to the disclosure of emotional truth. Though the music features several oppositional binaries that might be described as an epistemology of the closet, these do not function to present homosexuality as an unstable, deviant, or perverse alternative to the fixed norm of heterosexuality, as is the case in a number of other films made for a mainstream cinema audience. As composer for the film, I am uniquely able to comment on the practical and creative interactions that took place, thus providing an insight into the soundtrack both artistically and within its production contexts
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