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-webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Film Music And Sound</h1><div class="u-tcGrayDark">24,779 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Film Music And Sound</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Film_Music_And_Sound/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Film_Music_And_Sound/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Film_Music_And_Sound/MostRecent">Newest Papers</a></li><li><a class="" 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u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A short history of the birth and growth of a new film genre based in Jamaica's roots reggae culture.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13104396" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5b20cea7dc43a4203a91243378b5f421" rel="nofollow" data-download="{"attachment_id":37946394,"asset_id":13104396,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button 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Blake-Hannah","profile_url":"https://tcu.academia.edu/BarbaraBlakeHannah?f_ri=2601","photo":"https://gravatar.com/avatar/1cf631cc741ebab0cc85cc0d982fe154?s=65"}</script></span></span></li><li class="js-paper-rank-work_13104396 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13104396"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13104396, container: ".js-paper-rank-work_13104396", }); });</script></li><li class="js-percentile-work_13104396 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13104396; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="13104396"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8706" href="https://www.academia.edu/Documents/in/Jamaica">Jamaica</a>, <script data-card-contents-for-ri="8706" type="text/json">{"id":8706,"name":"Jamaica","url":"https://www.academia.edu/Documents/in/Jamaica?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="226057" href="https://www.academia.edu/Documents/in/Reggae_Culture">Reggae Culture</a>, <script data-card-contents-for-ri="226057" type="text/json">{"id":226057,"name":"Reggae Culture","url":"https://www.academia.edu/Documents/in/Reggae_Culture?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="266448" href="https://www.academia.edu/Documents/in/Reggae_and_Rastafari_studies">Reggae and Rastafari studies</a><script data-card-contents-for-ri="266448" type="text/json">{"id":266448,"name":"Reggae and Rastafari studies","url":"https://www.academia.edu/Documents/in/Reggae_and_Rastafari_studies?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13104396]'), work: {"id":13104396,"title":"Jamaica's REGGAE 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Culture","url":"https://www.academia.edu/Documents/in/Reggae_Culture?f_ri=2601","nofollow":false},{"id":266448,"name":"Reggae and Rastafari studies","url":"https://www.academia.edu/Documents/in/Reggae_and_Rastafari_studies?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22358916" data-work_id="22358916" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/22358916/Tornatore_e_Morricone">Tornatore e Morricone</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A very short essay on the cooperation between Ennio Morricone and director Giuseppe Tornatore</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22358916" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="632c00cc8393e79dd4f34adbced161fc" rel="nofollow" data-download="{"attachment_id":42986833,"asset_id":22358916,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42986833/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="43615148" href="https://independent.academia.edu/SergioBassetti">Sergio Bassetti</a><script data-card-contents-for-user="43615148" type="text/json">{"id":43615148,"first_name":"Sergio","last_name":"Bassetti","domain_name":"independent","page_name":"SergioBassetti","display_name":"Sergio Bassetti","profile_url":"https://independent.academia.edu/SergioBassetti?f_ri=2601","photo":"https://0.academia-photos.com/43615148/11709570/13054616/s65_sergio.bassetti.png"}</script></span></span></li><li class="js-paper-rank-work_22358916 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" 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InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="22358916"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 22358916; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=22358916]").text(description); $(".js-view-count-work_22358916").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_22358916").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="22358916"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22358916]'), work: {"id":22358916,"title":"Tornatore e Morricone","created_at":"2016-02-23T11:36:37.987-08:00","url":"https://www.academia.edu/22358916/Tornatore_e_Morricone?f_ri=2601","dom_id":"work_22358916","summary":"A very short essay on the cooperation between Ennio Morricone and director Giuseppe Tornatore","downloadable_attachments":[{"id":42986833,"asset_id":22358916,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":43615148,"first_name":"Sergio","last_name":"Bassetti","domain_name":"independent","page_name":"SergioBassetti","display_name":"Sergio Bassetti","profile_url":"https://independent.academia.edu/SergioBassetti?f_ri=2601","photo":"https://0.academia-photos.com/43615148/11709570/13054616/s65_sergio.bassetti.png"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7553371" data-work_id="7553371" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7553371/Compositions_of_crisis_Sound_and_silence_in_the_films_of_Bergman_and_Tarkovsky">Compositions of crisis: Sound and silence in the films of Bergman and Tarkovsky</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei Tarkovsky—Bergman’s The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963), and Tarkovsky’s Stalker (1979),... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7553371" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei Tarkovsky—Bergman’s The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963), and Tarkovsky’s Stalker (1979), Nostalghia (1983), and The Sacrifice (1986). <br /> <br />These films were chosen as they represent the deepest periods of two directors’ engagements with the possible death of God and the subsequent loss of intrinsic existential meaning—topics with which this thesis is principally concerned. <br /> <br />As a starting point, this thesis argues that the films present the silence of God as the primary indicator of God’s absence from the human world. Becoming aware of this silence thus causes one to interrogate religious certainties which have hitherto been taken to be timeless and true. This thesis then contends that, when faced with this silence and its implications, Bergman desperately sought evidence of God’s existence while Tarkovsky unyieldingly maintained an attitude of faith. <br /> <br />The directors’ progressions toward these contrasting positions are evident through the uses of sound elements in their films. As Bergman unsuccessfully pursued evidence of God’s existence, the soundscapes in his four films become increasingly minimal. The sparse use of sound reveals Bergman’s conception of a Godless void. On the other hand, metaphysical silence in Tarkovsky’s films was not perceived as emptiness. Instead, “silence” in his films was, paradoxically, often depicted through complex layers of sounds. Presented as manifestations of the metaphysical, the sounds of “silence” in Tarkovsky’s films consequently become affirmations of faith. <br /> <br />Through this sound-based approach to film analysis, this thesis sets out to explain why Bergman and Tarkovsky understood metaphysical silence so differently by examining how they portrayed literal silences.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7553371" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b5e5fa247c84a48db2b6ae5c984ef981" rel="nofollow" data-download="{"attachment_id":34115062,"asset_id":7553371,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34115062/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2402476" href="https://nus.academia.edu/PhoebePua">Phoebe Pua</a><script data-card-contents-for-user="2402476" type="text/json">{"id":2402476,"first_name":"Phoebe","last_name":"Pua","domain_name":"nus","page_name":"PhoebePua","display_name":"Phoebe Pua","profile_url":"https://nus.academia.edu/PhoebePua?f_ri=2601","photo":"https://0.academia-photos.com/2402476/4123256/119557581/s65_phoebe.pua.png"}</script></span></span></li><li class="js-paper-rank-work_7553371 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7553371"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7553371, container: ".js-paper-rank-work_7553371", }); 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$(".js-view-count[data-work-id=7553371]").text(description); $(".js-view-count-work_7553371").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7553371").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="7553371"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1570" href="https://www.academia.edu/Documents/in/European_Cinema">European Cinema</a>, <script data-card-contents-for-ri="1570" type="text/json">{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2106" href="https://www.academia.edu/Documents/in/Film_Sound">Film Sound</a>, <script data-card-contents-for-ri="2106" type="text/json">{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7553371]'), work: {"id":7553371,"title":"Compositions of crisis: Sound and silence in the films of Bergman and Tarkovsky","created_at":"2014-07-03T23:24:44.619-07:00","url":"https://www.academia.edu/7553371/Compositions_of_crisis_Sound_and_silence_in_the_films_of_Bergman_and_Tarkovsky?f_ri=2601","dom_id":"work_7553371","summary":"This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei Tarkovsky—Bergman’s The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963), and Tarkovsky’s Stalker (1979), Nostalghia (1983), and The Sacrifice (1986).\r\n\r\nThese films were chosen as they represent the deepest periods of two directors’ engagements with the possible death of God and the subsequent loss of intrinsic existential meaning—topics with which this thesis is principally concerned. \r\n\r\nAs a starting point, this thesis argues that the films present the silence of God as the primary indicator of God’s absence from the human world. Becoming aware of this silence thus causes one to interrogate religious certainties which have hitherto been taken to be timeless and true. This thesis then contends that, when faced with this silence and its implications, Bergman desperately sought evidence of God’s existence while Tarkovsky unyieldingly maintained an attitude of faith. \r\n\r\nThe directors’ progressions toward these contrasting positions are evident through the uses of sound elements in their films. As Bergman unsuccessfully pursued evidence of God’s existence, the soundscapes in his four films become increasingly minimal. The sparse use of sound reveals Bergman’s conception of a Godless void. On the other hand, metaphysical silence in Tarkovsky’s films was not perceived as emptiness. Instead, “silence” in his films was, paradoxically, often depicted through complex layers of sounds. Presented as manifestations of the metaphysical, the sounds of “silence” in Tarkovsky’s films consequently become affirmations of faith. \r\n\r\nThrough this sound-based approach to film analysis, this thesis sets out to explain why Bergman and Tarkovsky understood metaphysical silence so differently by examining how they portrayed literal silences.","downloadable_attachments":[{"id":34115062,"asset_id":7553371,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2402476,"first_name":"Phoebe","last_name":"Pua","domain_name":"nus","page_name":"PhoebePua","display_name":"Phoebe Pua","profile_url":"https://nus.academia.edu/PhoebePua?f_ri=2601","photo":"https://0.academia-photos.com/2402476/4123256/119557581/s65_phoebe.pua.png"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=2601","nofollow":false},{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601"},{"id":7915,"name":"Silence","url":"https://www.academia.edu/Documents/in/Silence?f_ri=2601"},{"id":8088,"name":"Sound","url":"https://www.academia.edu/Documents/in/Sound?f_ri=2601"},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=2601"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=2601"},{"id":22778,"name":"Ingmar Bergman Films","url":"https://www.academia.edu/Documents/in/Ingmar_Bergman_Films?f_ri=2601"},{"id":28083,"name":"Andrei Tarkovsky","url":"https://www.academia.edu/Documents/in/Andrei_Tarkovsky?f_ri=2601"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=2601"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=2601"},{"id":110019,"name":"Using Silence in Film","url":"https://www.academia.edu/Documents/in/Using_Silence_in_Film?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2197546" data-work_id="2197546" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2197546/What_Does_a_Cornish_Pixie_Sound_Like">What Does a Cornish Pixie Sound Like? </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2197546" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9dbe1d91c7fe8e5f1a80d357c92aa4e2" rel="nofollow" data-download="{"attachment_id":30248628,"asset_id":2197546,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30248628/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase 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href="https://www.academia.edu/Documents/in/Sound_and_Image">Sound and Image</a>, <script data-card-contents-for-ri="1169" type="text/json">{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2106" href="https://www.academia.edu/Documents/in/Film_Sound">Film Sound</a>, <script data-card-contents-for-ri="2106" type="text/json">{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12866" href="https://www.academia.edu/Documents/in/Harry_Potter">Harry Potter</a><script data-card-contents-for-ri="12866" type="text/json">{"id":12866,"name":"Harry Potter","url":"https://www.academia.edu/Documents/in/Harry_Potter?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2197546]'), work: {"id":2197546,"title":"What Does a Cornish Pixie Sound Like? ","created_at":"2012-11-25T23:07:22.899-08:00","url":"https://www.academia.edu/2197546/What_Does_a_Cornish_Pixie_Sound_Like?f_ri=2601","dom_id":"work_2197546","summary":null,"downloadable_attachments":[{"id":30248628,"asset_id":2197546,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2811916,"first_name":"Laura","last_name":"Taylor","domain_name":"dmu","page_name":"LauraTaylor","display_name":"Laura Taylor","profile_url":"https://dmu.academia.edu/LauraTaylor?f_ri=2601","photo":"https://0.academia-photos.com/2811916/918021/1197160/s65_laura.taylor.jpg"}],"research_interests":[{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=2601","nofollow":false},{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":12866,"name":"Harry Potter","url":"https://www.academia.edu/Documents/in/Harry_Potter?f_ri=2601","nofollow":false},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=2601"},{"id":473893,"name":"Foley Art","url":"https://www.academia.edu/Documents/in/Foley_Art?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_769154" data-work_id="769154" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/769154/Bernard_Herrmann_The_Beethoven_of_film_music">Bernard Herrmann: The Beethoven of film music?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Because director Frank Capra asked Dimitri Tiomkin to be present on the set while LOST HORIZON (1937) was being shot, the composer was afforded a unique opportunity to compose much of his music during production rather than after the film... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_769154" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Because director Frank Capra asked Dimitri Tiomkin to be present on the set while LOST HORIZON (1937) was being shot, the composer was afforded a unique opportunity to compose much of his music during production rather than after the film was completed as was standard operating procedure in that period.  The score therefore prompts the first application of the musicological methods of "sketch studies" and "source studies," because much of the music Tiomkin composed had ultimately to be edited to the finished film.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/769154" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1a2f8810f8953c4aa71f9305727b1f96" rel="nofollow" data-download="{"attachment_id":37074969,"asset_id":769154,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37074969/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i 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InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="769154"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 769154; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=769154]").text(description); $(".js-view-count-work_769154").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_769154").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="769154"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14595" href="https://www.academia.edu/Documents/in/Analysis_of_Film_Music">Analysis of Film Music</a>, <script data-card-contents-for-ri="14595" type="text/json">{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21991" href="https://www.academia.edu/Documents/in/Film_music_and_film_music_theory">Film music and film music theory</a>, <script data-card-contents-for-ri="21991" type="text/json">{"id":21991,"name":"Film music and film music theory","url":"https://www.academia.edu/Documents/in/Film_music_and_film_music_theory?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="204345" href="https://www.academia.edu/Documents/in/Bernard_Herrmann">Bernard Herrmann</a><script data-card-contents-for-ri="204345" type="text/json">{"id":204345,"name":"Bernard Herrmann","url":"https://www.academia.edu/Documents/in/Bernard_Herrmann?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=769154]'), work: {"id":769154,"title":"Bernard Herrmann: The Beethoven of film music?","created_at":"2011-07-22T11:48:20.511-07:00","url":"https://www.academia.edu/769154/Bernard_Herrmann_The_Beethoven_of_film_music?f_ri=2601","dom_id":"work_769154","summary":"Because director Frank Capra asked Dimitri Tiomkin to be present on the set while LOST HORIZON (1937) was being shot, the composer was afforded a unique opportunity to compose much of his music during production rather than after the film was completed as was standard operating procedure in that period. The score therefore prompts the first application of the musicological methods of \"sketch studies\" and \"source studies,\" because much of the music Tiomkin composed had ultimately to be edited to the finished film.","downloadable_attachments":[{"id":37074969,"asset_id":769154,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":589932,"first_name":"William","last_name":"Rosar","domain_name":"ucsd","page_name":"WilliamRosar","display_name":"William Rosar","profile_url":"https://ucsd.academia.edu/WilliamRosar?f_ri=2601","photo":"https://0.academia-photos.com/589932/208390/2054068/s65_william.rosar.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false},{"id":21991,"name":"Film music and film music theory","url":"https://www.academia.edu/Documents/in/Film_music_and_film_music_theory?f_ri=2601","nofollow":false},{"id":204345,"name":"Bernard Herrmann","url":"https://www.academia.edu/Documents/in/Bernard_Herrmann?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34999459" data-work_id="34999459" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34999459/An_Analysis_of_Film_Score_Production_and_Composition_Traits_implemented_within_the_works_of_Hans_Zimmer">An Analysis of Film Score Production and Composition Traits implemented within the works of Hans Zimmer</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The advancements of technology in the music industry move at a rapid rate. Within the past century, the core industries have evolved into numerous sub cultures and niche employment careers. Throughout these historical developments,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34999459" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The advancements of technology in the music industry move at a rapid rate. Within the past century, the core industries have evolved into numerous sub cultures and niche employment careers. Throughout these historical developments, certain individuals have undoubtedly been<br />identified as the seminal mavericks of the industries, bringing forward creative innovations within their fields.<br /><br />The history of film music has witnessed this same trait during which many composers have been hailed as the seminal individuals of their time. Max Steiner is repeatedly accredited as being the first to synchronize musical elements of score to the visuals (Pratt, 2009), notably in Merian Cooper and Ernest Schoedsack’s King Kong (1933). Bernard Herrmann kickstarted the collaborative approach to composition which led to the iconic Alfred Hitchcock films Vertigo (1958), North By Northwest (1959) and Psycho (1960). Five time academy award<br />winner John Williams undoubtedly has left his mark on the film music scene, and whose ‘big orchestral sound’ can be found on numerous blockbuster films, such as Schindler's List (1993), Jaws (1975), the Indiana Jones (1981) and the Star Wars (1977) franchise. The 21st<br />Century has continued to bring forward pioneering individuals within the industry of film music, with one arguably leaving a footprint as large as the others. Hans Zimmer is an internationally renowned film composer, producer and performer, and has built up a celebrity-grade reputation as one of the most influential composers of the 21st Century. Zimmer has scored music for over a hundred films, collaborated with many world class directors and received numerous awards for his compositional works.<br /><br />With that said, Zimmer’s approach to film scoring production practices have been recognised as having a conventional industrial approach. He is an authority on certain production practices involving the combination of synthesised electronic music with traditional orchestral instruments and he has implemented these techniques into many of his 21st<br />Century soundtracks. Zimmer’s compositional style is argued as ‘romantic minimalism’, which can be described as a combination of minimalistic romantic musical ideas and the stripping away of musical textures (Wright, 2015). This technique has been demonstrated and<br />discussed through behind the scenes footage and Zimmer’s online masterclass series (2016).<br /><br />In the 21st Century, film composers are under continuous pressure to create unique and innovative ideas for every film. Zimmer and his implementation of romantic minimalism has undoubtedly experienced criticism of producing formulaic music. As Zimmer attempts to<br />ensure diversity in his film scores, the definitive traits of romantic minimalism are harder to identify. Therefore, the intentions of this research project are to establish the traits and aesthetics of romantic minimalism attributed to Zimmer’s 21st Century film scores, as well as<br />brief research into his career. Through analysing films of various genres scored by Zimmer, the underlying aesthetics of his work can be discovered, as well as identifying the individual<br />genre dependant traits.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34999459" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4e458259a790f36cff8ce7fac4874b71" rel="nofollow" data-download="{"attachment_id":54863963,"asset_id":34999459,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54863963/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="61611584" href="https://yorksj.academia.edu/CameronSmith">Cameron E Smith</a><script data-card-contents-for-user="61611584" type="text/json">{"id":61611584,"first_name":"Cameron","last_name":"Smith","domain_name":"yorksj","page_name":"CameronSmith","display_name":"Cameron E Smith","profile_url":"https://yorksj.academia.edu/CameronSmith?f_ri=2601","photo":"https://0.academia-photos.com/61611584/16009235/18146319/s65_cameron.smith.png"}</script></span></span></li><li class="js-paper-rank-work_34999459 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34999459"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34999459, container: ".js-paper-rank-work_34999459", }); 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$(".js-view-count[data-work-id=34999459]").text(description); $(".js-view-count-work_34999459").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34999459").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34999459"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="676" href="https://www.academia.edu/Documents/in/Musical_Composition">Musical Composition</a>, <script data-card-contents-for-ri="676" type="text/json">{"id":676,"name":"Musical Composition","url":"https://www.academia.edu/Documents/in/Musical_Composition?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14595" href="https://www.academia.edu/Documents/in/Analysis_of_Film_Music">Analysis of Film Music</a><script data-card-contents-for-ri="14595" type="text/json">{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34999459]'), work: {"id":34999459,"title":"An Analysis of Film Score Production and Composition Traits implemented within the works of Hans Zimmer","created_at":"2017-10-30T08:10:14.591-07:00","url":"https://www.academia.edu/34999459/An_Analysis_of_Film_Score_Production_and_Composition_Traits_implemented_within_the_works_of_Hans_Zimmer?f_ri=2601","dom_id":"work_34999459","summary":"The advancements of technology in the music industry move at a rapid rate. Within the past century, the core industries have evolved into numerous sub cultures and niche employment careers. Throughout these historical developments, certain individuals have undoubtedly been\nidentified as the seminal mavericks of the industries, bringing forward creative innovations within their fields.\n\nThe history of film music has witnessed this same trait during which many composers have been hailed as the seminal individuals of their time. Max Steiner is repeatedly accredited as being the first to synchronize musical elements of score to the visuals (Pratt, 2009), notably in Merian Cooper and Ernest Schoedsack’s King Kong (1933). Bernard Herrmann kickstarted the collaborative approach to composition which led to the iconic Alfred Hitchcock films Vertigo (1958), North By Northwest (1959) and Psycho (1960). Five time academy award\nwinner John Williams undoubtedly has left his mark on the film music scene, and whose ‘big orchestral sound’ can be found on numerous blockbuster films, such as Schindler's List (1993), Jaws (1975), the Indiana Jones (1981) and the Star Wars (1977) franchise. The 21st\nCentury has continued to bring forward pioneering individuals within the industry of film music, with one arguably leaving a footprint as large as the others. Hans Zimmer is an internationally renowned film composer, producer and performer, and has built up a celebrity-grade reputation as one of the most influential composers of the 21st Century. Zimmer has scored music for over a hundred films, collaborated with many world class directors and received numerous awards for his compositional works.\n\nWith that said, Zimmer’s approach to film scoring production practices have been recognised as having a conventional industrial approach. He is an authority on certain production practices involving the combination of synthesised electronic music with traditional orchestral instruments and he has implemented these techniques into many of his 21st\nCentury soundtracks. Zimmer’s compositional style is argued as ‘romantic minimalism’, which can be described as a combination of minimalistic romantic musical ideas and the stripping away of musical textures (Wright, 2015). This technique has been demonstrated and\ndiscussed through behind the scenes footage and Zimmer’s online masterclass series (2016).\n\nIn the 21st Century, film composers are under continuous pressure to create unique and innovative ideas for every film. Zimmer and his implementation of romantic minimalism has undoubtedly experienced criticism of producing formulaic music. As Zimmer attempts to\nensure diversity in his film scores, the definitive traits of romantic minimalism are harder to identify. Therefore, the intentions of this research project are to establish the traits and aesthetics of romantic minimalism attributed to Zimmer’s 21st Century film scores, as well as\nbrief research into his career. Through analysing films of various genres scored by Zimmer, the underlying aesthetics of his work can be discovered, as well as identifying the individual\ngenre dependant traits.","downloadable_attachments":[{"id":54863963,"asset_id":34999459,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":61611584,"first_name":"Cameron","last_name":"Smith","domain_name":"yorksj","page_name":"CameronSmith","display_name":"Cameron E Smith","profile_url":"https://yorksj.academia.edu/CameronSmith?f_ri=2601","photo":"https://0.academia-photos.com/61611584/16009235/18146319/s65_cameron.smith.png"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2601","nofollow":false},{"id":676,"name":"Musical Composition","url":"https://www.academia.edu/Documents/in/Musical_Composition?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false},{"id":35032,"name":"Music Production","url":"https://www.academia.edu/Documents/in/Music_Production?f_ri=2601"},{"id":39323,"name":"Film Music","url":"https://www.academia.edu/Documents/in/Film_Music?f_ri=2601"},{"id":73470,"name":"Composing music","url":"https://www.academia.edu/Documents/in/Composing_music?f_ri=2601"},{"id":726723,"name":"Hans Zimmer","url":"https://www.academia.edu/Documents/in/Hans_Zimmer?f_ri=2601"},{"id":2811914,"name":"Romantic Minimalism","url":"https://www.academia.edu/Documents/in/Romantic_Minimalism?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13959376" data-work_id="13959376" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13959376/Widmontologia_Teoria_filozoficzna_i_praktyka_artystyczna_ponowoczesno%C5%9Bci">Widmontologia. Teoria filozoficzna i praktyka artystyczna ponowoczesności</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13959376" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji. <br /> <br />Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? <br /> <br />Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13959376" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="53a3edfc2c990549565be369b3df58e4" rel="nofollow" data-download="{"attachment_id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56840903/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1934801" href="https://amu.academia.edu/AndrzejMarzec">Andrzej Marzec</a><script data-card-contents-for-user="1934801" type="text/json">{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=2601","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}</script></span></span></li><li class="js-paper-rank-work_13959376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13959376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13959376, container: ".js-paper-rank-work_13959376", }); 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$(".js-view-count[data-work-id=13959376]").text(description); $(".js-view-count-work_13959376").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_13959376").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="13959376"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">234</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="8" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="196" href="https://www.academia.edu/Documents/in/Future_Studies">Future Studies</a><script data-card-contents-for-ri="196" type="text/json">{"id":196,"name":"Future Studies","url":"https://www.academia.edu/Documents/in/Future_Studies?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13959376]'), work: {"id":13959376,"title":"Widmontologia. Teoria filozoficzna i praktyka artystyczna ponowoczesności","created_at":"2015-07-12T14:40:50.058-07:00","url":"https://www.academia.edu/13959376/Widmontologia_Teoria_filozoficzna_i_praktyka_artystyczna_ponowoczesno%C5%9Bci?f_ri=2601","dom_id":"work_13959376","summary":"Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji. \r\n \r\nKsiążka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? \r\n \r\nKategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.","downloadable_attachments":[{"id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=2601","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=2601","nofollow":false},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=2601","nofollow":false},{"id":188,"name":"Cultural 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Behavior","url":"https://www.academia.edu/Documents/in/Evolution_and_Human_Behavior?f_ri=2601"},{"id":190739,"name":"Social Psychology of Music","url":"https://www.academia.edu/Documents/in/Social_Psychology_of_Music?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2499989" data-work_id="2499989" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2499989/Michel_Chion_Film_a_sound_art_Translated_by_Claudia_Gorbman_New_York_Columbia_University_Press_2009">Michel Chion: Film, a sound art (Translated by Claudia Gorbman). New York: Columbia University Press. 2009</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2499989" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="125f65d7d1294d1fe7121526b21edd9a" rel="nofollow" data-download="{"attachment_id":49476460,"asset_id":2499989,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49476460/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="443437" href="https://aalborg.academia.edu/MartinKnakkergaard">Martin Knakkergaard</a><script data-card-contents-for-user="443437" type="text/json">{"id":443437,"first_name":"Martin","last_name":"Knakkergaard","domain_name":"aalborg","page_name":"MartinKnakkergaard","display_name":"Martin Knakkergaard","profile_url":"https://aalborg.academia.edu/MartinKnakkergaard?f_ri=2601","photo":"https://0.academia-photos.com/443437/142966/1342433/s65_martin.knakkergaard.jpg"}</script></span></span></li><li class="js-paper-rank-work_2499989 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2499989"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2499989, container: ".js-paper-rank-work_2499989", }); });</script></li><li class="js-percentile-work_2499989 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2499989; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_2499989"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_2499989 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="2499989"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2499989; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2499989]").text(description); $(".js-view-count-work_2499989").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2499989").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2499989"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2499989]'), work: {"id":2499989,"title":"Michel Chion: Film, a sound art (Translated by Claudia Gorbman). New York: Columbia University Press. 2009","created_at":"2013-02-01T19:34:00.657-08:00","url":"https://www.academia.edu/2499989/Michel_Chion_Film_a_sound_art_Translated_by_Claudia_Gorbman_New_York_Columbia_University_Press_2009?f_ri=2601","dom_id":"work_2499989","summary":null,"downloadable_attachments":[{"id":49476460,"asset_id":2499989,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":443437,"first_name":"Martin","last_name":"Knakkergaard","domain_name":"aalborg","page_name":"MartinKnakkergaard","display_name":"Martin Knakkergaard","profile_url":"https://aalborg.academia.edu/MartinKnakkergaard?f_ri=2601","photo":"https://0.academia-photos.com/443437/142966/1342433/s65_martin.knakkergaard.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35640376" data-work_id="35640376" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35640376/Middle_Earth_vs_Pandora_Exploring_Musical_Conceptualisations_of_Place_in_Alternative_Worlds">Middle-Earth vs. Pandora: Exploring Musical Conceptualisations of Place in Alternative Worlds</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Alternative worlds in classical Hollywood cinema are built from a variety of cinematic constructions. The credibility of such worlds depends on the extent to which the film’s creators wish to stray from the concept of reality. Abstract... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35640376" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Alternative worlds in classical Hollywood cinema are built from a variety of cinematic constructions. The credibility of such worlds depends on the extent to which the film’s creators wish to stray from the concept of reality. Abstract notions of colour, dimensionality, light and sound contrast more complex cinematic concepts such as narrative, character roles, credibility and geography. It is the specific combination of these elements chosen by filmmakers which determines whether audiences are able to become immersed into the world by perceiving it as a real and coherent entity. <br /> This thesis is an exploration into how composers James Horner and Howard Shore use music to help build conceptualisations of place in their two fantasy film series’, Avatar and the Lord of the Rings trilogy. It offers three hermeneutical levels of analysis which provide different insights into how the composers musically construct a sense of place: through establishing spatial identities, through music’s relation to the narrative, and from a more conceptual viewpoint relating to power struggles in the real world. It ultimately aims to evaluate the extents in which music’s contribution toward creating a sense of place not only influences the construction of the worlds themselves, but how it is capable in altering the way audiences perceive them as credible entities as a whole.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35640376" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="771ddae24133d855c1fb7cf14f253fad" rel="nofollow" data-download="{"attachment_id":55509528,"asset_id":35640376,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55509528/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22285060" href="https://royalholloway.academia.edu/CarrieDraude">Carrie Draude</a><script data-card-contents-for-user="22285060" type="text/json">{"id":22285060,"first_name":"Carrie","last_name":"Draude","domain_name":"royalholloway","page_name":"CarrieDraude","display_name":"Carrie Draude","profile_url":"https://royalholloway.academia.edu/CarrieDraude?f_ri=2601","photo":"https://0.academia-photos.com/22285060/6754540/15441314/s65_carrie.draude.jpeg"}</script></span></span></li><li class="js-paper-rank-work_35640376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35640376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35640376, container: ".js-paper-rank-work_35640376", }); });</script></li><li class="js-percentile-work_35640376 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35640376; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35640376"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35640376 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35640376"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35640376; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35640376]").text(description); $(".js-view-count-work_35640376").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35640376").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35640376"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14595" href="https://www.academia.edu/Documents/in/Analysis_of_Film_Music">Analysis of Film Music</a><script data-card-contents-for-ri="14595" type="text/json">{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35640376]'), work: {"id":35640376,"title":"Middle-Earth vs. Pandora: Exploring Musical Conceptualisations of Place in Alternative Worlds","created_at":"2018-01-11T04:02:02.420-08:00","url":"https://www.academia.edu/35640376/Middle_Earth_vs_Pandora_Exploring_Musical_Conceptualisations_of_Place_in_Alternative_Worlds?f_ri=2601","dom_id":"work_35640376","summary":"Alternative worlds in classical Hollywood cinema are built from a variety of cinematic constructions. The credibility of such worlds depends on the extent to which the film’s creators wish to stray from the concept of reality. Abstract notions of colour, dimensionality, light and sound contrast more complex cinematic concepts such as narrative, character roles, credibility and geography. It is the specific combination of these elements chosen by filmmakers which determines whether audiences are able to become immersed into the world by perceiving it as a real and coherent entity. \n\tThis thesis is an exploration into how composers James Horner and Howard Shore use music to help build conceptualisations of place in their two fantasy film series’, Avatar and the Lord of the Rings trilogy. It offers three hermeneutical levels of analysis which provide different insights into how the composers musically construct a sense of place: through establishing spatial identities, through music’s relation to the narrative, and from a more conceptual viewpoint relating to power struggles in the real world. It ultimately aims to evaluate the extents in which music’s contribution toward creating a sense of place not only influences the construction of the worlds themselves, but how it is capable in altering the way audiences perceive them as credible entities as a whole.\n","downloadable_attachments":[{"id":55509528,"asset_id":35640376,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22285060,"first_name":"Carrie","last_name":"Draude","domain_name":"royalholloway","page_name":"CarrieDraude","display_name":"Carrie Draude","profile_url":"https://royalholloway.academia.edu/CarrieDraude?f_ri=2601","photo":"https://0.academia-photos.com/22285060/6754540/15441314/s65_carrie.draude.jpeg"}],"research_interests":[{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601","nofollow":false},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false},{"id":51200,"name":"Immersion","url":"https://www.academia.edu/Documents/in/Immersion?f_ri=2601"},{"id":2750835,"name":"Howard Shore, músico","url":"https://www.academia.edu/Documents/in/Howard_Shore_m%C3%BAsico?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38426783" data-work_id="38426783" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38426783/Brakhage_and_the_Birth_of_Silence">Brakhage and the Birth of Silence</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Discussions of “silent cinema” have generally focused on films made during the silent era (1894–1929). Even after the spread of synchronized sound, however, several experimental filmmakers created films without soundtracks, purely visual... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38426783" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Discussions of “silent cinema” have generally focused on films made during the silent era (1894–1929). Even after the spread of synchronized sound, however, several experimental filmmakers created films without soundtracks, purely visual experiences that challenged cinema’s status as a multisensory medium. This article gives close attention to Stan Brakhage’s 1959 film "Window Water Baby Moving" as a way of outlining<br />some of the effects of cinematic silence, such as aesthetic ambiguity and a heightened awareness of cinema’s visual rhythms.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38426783" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="01d30050dd483d3d7ae13c8bc86de028" rel="nofollow" data-download="{"attachment_id":58486256,"asset_id":38426783,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58486256/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3615930" href="https://iastate.academia.edu/JustinRemes">Justin Remes</a><script data-card-contents-for-user="3615930" type="text/json">{"id":3615930,"first_name":"Justin","last_name":"Remes","domain_name":"iastate","page_name":"JustinRemes","display_name":"Justin Remes","profile_url":"https://iastate.academia.edu/JustinRemes?f_ri=2601","photo":"https://0.academia-photos.com/3615930/1269509/41133743/s65_justin.remes.jpg"}</script></span></span></li><li class="js-paper-rank-work_38426783 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38426783"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38426783, container: ".js-paper-rank-work_38426783", }); });</script></li><li class="js-percentile-work_38426783 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38426783; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38426783"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38426783 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38426783"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38426783; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38426783]").text(description); $(".js-view-count-work_38426783").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38426783").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38426783"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1016" href="https://www.academia.edu/Documents/in/Avant-Garde_Cinema">Avant-Garde Cinema</a>, <script data-card-contents-for-ri="1016" type="text/json">{"id":1016,"name":"Avant-Garde Cinema","url":"https://www.academia.edu/Documents/in/Avant-Garde_Cinema?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6397" href="https://www.academia.edu/Documents/in/Silent_Film">Silent Film</a><script data-card-contents-for-ri="6397" type="text/json">{"id":6397,"name":"Silent Film","url":"https://www.academia.edu/Documents/in/Silent_Film?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38426783]'), work: {"id":38426783,"title":"Brakhage and the Birth of Silence","created_at":"2019-02-23T15:34:46.566-08:00","url":"https://www.academia.edu/38426783/Brakhage_and_the_Birth_of_Silence?f_ri=2601","dom_id":"work_38426783","summary":"Discussions of “silent cinema” have generally focused on films made during the silent era (1894–1929). Even after the spread of synchronized sound, however, several experimental filmmakers created films without soundtracks, purely visual experiences that challenged cinema’s status as a multisensory medium. This article gives close attention to Stan Brakhage’s 1959 film \"Window Water Baby Moving\" as a way of outlining\nsome of the effects of cinematic silence, such as aesthetic ambiguity and a heightened awareness of cinema’s visual rhythms.","downloadable_attachments":[{"id":58486256,"asset_id":38426783,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3615930,"first_name":"Justin","last_name":"Remes","domain_name":"iastate","page_name":"JustinRemes","display_name":"Justin Remes","profile_url":"https://iastate.academia.edu/JustinRemes?f_ri=2601","photo":"https://0.academia-photos.com/3615930/1269509/41133743/s65_justin.remes.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=2601","nofollow":false},{"id":1016,"name":"Avant-Garde Cinema","url":"https://www.academia.edu/Documents/in/Avant-Garde_Cinema?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":6397,"name":"Silent Film","url":"https://www.academia.edu/Documents/in/Silent_Film?f_ri=2601","nofollow":false},{"id":7915,"name":"Silence","url":"https://www.academia.edu/Documents/in/Silence?f_ri=2601"},{"id":17306,"name":"Experimental Music","url":"https://www.academia.edu/Documents/in/Experimental_Music?f_ri=2601"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=2601"},{"id":31319,"name":"20th century Avant-Garde","url":"https://www.academia.edu/Documents/in/20th_century_Avant-Garde?f_ri=2601"},{"id":32983,"name":"Experimental Film","url":"https://www.academia.edu/Documents/in/Experimental_Film?f_ri=2601"},{"id":43729,"name":"John Cage","url":"https://www.academia.edu/Documents/in/John_Cage?f_ri=2601"},{"id":73834,"name":"Stan Brakhage","url":"https://www.academia.edu/Documents/in/Stan_Brakhage?f_ri=2601"},{"id":195390,"name":"Avant-garde music in film","url":"https://www.academia.edu/Documents/in/Avant-garde_music_in_film?f_ri=2601"},{"id":232176,"name":"Experimental Film and Video","url":"https://www.academia.edu/Documents/in/Experimental_Film_and_Video?f_ri=2601"},{"id":506558,"name":"Avant Garde Music","url":"https://www.academia.edu/Documents/in/Avant_Garde_Music?f_ri=2601"},{"id":808459,"name":"Presence/absence","url":"https://www.academia.edu/Documents/in/Presence_absence?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12058385" data-work_id="12058385" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12058385/Ward_M_S_2015_Art_in_noise_an_embodied_simulation_account_of_cinematic_sound_design_in_M_Co%C3%ABgnarts_and_P_Kravanja_eds_Embodied_cognition_and_cinema_Leuven_University_Press_Leuven_Belgium_pp_155_186">Ward, M.S. 2015, 'Art in noise: an embodied simulation account of cinematic sound design', in M. Coëgnarts & P. Kravanja (eds), Embodied cognition and cinema, Leuven University Press, Leuven, Belgium, pp. 155-186.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This chapter examines the meaning-making functions of cinematic sound from the perspective of embodied cognition. Using embodied simulation theory (Gallese, 2005) as a unifying framework, and placing particular emphasis upon the affective... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12058385" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This chapter examines the meaning-making functions of cinematic sound from the perspective of embodied cognition. Using embodied simulation theory (Gallese, 2005) as a unifying framework, and placing particular emphasis upon the affective aspects of ‘Feeling of Body’ (Wojciehowski & Gallese, 2011), an account of cinematic media emerges which puts into play Mark Johnson’s concept of ‘embodied meaning’ (Johnson, 2007). Central to Johnson’s concept is the assertion that all human meaning, abstract conceptual thinking, and imagination have basis in our sensorimotor interactions with the world. In the context of cinematic media, it suggests the stylistic crafting and patterning of perceptual content not only elicits an affective response but also shapes cognition. Drawing upon examples of cinematic sound design an embodied aesthetics is illustrated.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12058385" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2642bc29298f16a5023e104f74d5d489" rel="nofollow" data-download="{"attachment_id":48012313,"asset_id":12058385,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48012313/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="44389" href="https://aftrs.academia.edu/MarkWard">Mark Ward</a><script data-card-contents-for-user="44389" type="text/json">{"id":44389,"first_name":"Mark","last_name":"Ward","domain_name":"aftrs","page_name":"MarkWard","display_name":"Mark Ward","profile_url":"https://aftrs.academia.edu/MarkWard?f_ri=2601","photo":"https://0.academia-photos.com/44389/14177/13254/s65_mark.ward.jpg"}</script></span></span></li><li class="js-paper-rank-work_12058385 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12058385"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12058385, container: ".js-paper-rank-work_12058385", }); });</script></li><li class="js-percentile-work_12058385 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12058385; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_12058385"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_12058385 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="12058385"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12058385; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12058385]").text(description); $(".js-view-count-work_12058385").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12058385").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12058385"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1554" href="https://www.academia.edu/Documents/in/Film_Theory_and_Practice">Film Theory and Practice</a>, <script data-card-contents-for-ri="1554" type="text/json">{"id":1554,"name":"Film Theory and Practice","url":"https://www.academia.edu/Documents/in/Film_Theory_and_Practice?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2106" href="https://www.academia.edu/Documents/in/Film_Sound">Film Sound</a><script data-card-contents-for-ri="2106" type="text/json">{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12058385]'), work: {"id":12058385,"title":"Ward, M.S. 2015, 'Art in noise: an embodied simulation account of cinematic sound design', in M. Coëgnarts \u0026 P. Kravanja (eds), Embodied cognition and cinema, Leuven University Press, Leuven, Belgium, pp. 155-186.","created_at":"2015-04-21T19:16:32.148-07:00","url":"https://www.academia.edu/12058385/Ward_M_S_2015_Art_in_noise_an_embodied_simulation_account_of_cinematic_sound_design_in_M_Co%C3%ABgnarts_and_P_Kravanja_eds_Embodied_cognition_and_cinema_Leuven_University_Press_Leuven_Belgium_pp_155_186?f_ri=2601","dom_id":"work_12058385","summary":"This chapter examines the meaning-making functions of cinematic sound from the perspective of embodied cognition. Using embodied simulation theory (Gallese, 2005) as a unifying framework, and placing particular emphasis upon the affective aspects of ‘Feeling of Body’ (Wojciehowski \u0026 Gallese, 2011), an account of cinematic media emerges which puts into play Mark Johnson’s concept of ‘embodied meaning’ (Johnson, 2007). Central to Johnson’s concept is the assertion that all human meaning, abstract conceptual thinking, and imagination have basis in our sensorimotor interactions with the world. In the context of cinematic media, it suggests the stylistic crafting and patterning of perceptual content not only elicits an affective response but also shapes cognition. Drawing upon examples of cinematic sound design an embodied aesthetics is illustrated.","downloadable_attachments":[{"id":48012313,"asset_id":12058385,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":44389,"first_name":"Mark","last_name":"Ward","domain_name":"aftrs","page_name":"MarkWard","display_name":"Mark Ward","profile_url":"https://aftrs.academia.edu/MarkWard?f_ri=2601","photo":"https://0.academia-photos.com/44389/14177/13254/s65_mark.ward.jpg"}],"research_interests":[{"id":1554,"name":"Film Theory and Practice","url":"https://www.academia.edu/Documents/in/Film_Theory_and_Practice?f_ri=2601","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=2601","nofollow":false},{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601"},{"id":4420,"name":"Embodied Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Cognition?f_ri=2601"},{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=2601"},{"id":8088,"name":"Sound","url":"https://www.academia.edu/Documents/in/Sound?f_ri=2601"},{"id":10165,"name":"Interactive and Digital Media","url":"https://www.academia.edu/Documents/in/Interactive_and_Digital_Media?f_ri=2601"},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=2601"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=2601"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=2601"},{"id":43077,"name":"Sound and moving image","url":"https://www.academia.edu/Documents/in/Sound_and_moving_image?f_ri=2601"},{"id":390790,"name":"Intersubjectivity, Embodied Simulation, Empathy","url":"https://www.academia.edu/Documents/in/Intersubjectivity_Embodied_Simulation_Empathy?f_ri=2601"},{"id":465977,"name":"Film Sound Theory","url":"https://www.academia.edu/Documents/in/Film_Sound_Theory?f_ri=2601"},{"id":577720,"name":"Embodied simulation","url":"https://www.academia.edu/Documents/in/Embodied_simulation?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19962987" data-work_id="19962987" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19962987/Manufacturing_the_Epic_Score_Hans_Zimmer_and_the_Sounds_of_Significance">Manufacturing the Epic Score: Hans Zimmer and the Sounds of Significance</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay examines the stylistic and cultural aspects of what I call Hans Zimmer’s “Epic Style.” This powerful and understudied idiom has assumed a default status for a huge amount of musical multimedia in the new millennium. Zimmer’s... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19962987" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay examines the stylistic and cultural aspects of what I call Hans Zimmer’s “Epic Style.” This powerful and understudied idiom has assumed a default status for a huge amount of musical multimedia in the new millennium. Zimmer’s maximalized minimalisms infuse films ranging from Drop Zone to Inception. Through analyses of these and other scores, I identify a number of structural components of this style and comment on how they reflect broad trends in Hollywood scoring practice. I conclude with a consideration of the role that masculinity, heroism, and military entertainment play in this incredibly influential and pervasive musical style.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19962987" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ecab400480d823771d0e940cc990d252" rel="nofollow" data-download="{"attachment_id":53627998,"asset_id":19962987,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53627998/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="67648" href="https://tufts.academia.edu/FrankLehman">Frank Lehman</a><script data-card-contents-for-user="67648" type="text/json">{"id":67648,"first_name":"Frank","last_name":"Lehman","domain_name":"tufts","page_name":"FrankLehman","display_name":"Frank Lehman","profile_url":"https://tufts.academia.edu/FrankLehman?f_ri=2601","photo":"https://0.academia-photos.com/67648/18993/38593155/s65_frank.lehman.jpg"}</script></span></span></li><li class="js-paper-rank-work_19962987 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19962987"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19962987, container: ".js-paper-rank-work_19962987", }); });</script></li><li class="js-percentile-work_19962987 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 19962987; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_19962987"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_19962987 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="19962987"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19962987; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19962987]").text(description); $(".js-view-count-work_19962987").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19962987").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19962987"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14595" href="https://www.academia.edu/Documents/in/Analysis_of_Film_Music">Analysis of Film Music</a>, <script data-card-contents-for-ri="14595" type="text/json">{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="39323" href="https://www.academia.edu/Documents/in/Film_Music">Film Music</a><script data-card-contents-for-ri="39323" type="text/json">{"id":39323,"name":"Film Music","url":"https://www.academia.edu/Documents/in/Film_Music?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19962987]'), work: {"id":19962987,"title":"Manufacturing the Epic Score: Hans Zimmer and the Sounds of Significance","created_at":"2016-01-02T08:06:54.198-08:00","url":"https://www.academia.edu/19962987/Manufacturing_the_Epic_Score_Hans_Zimmer_and_the_Sounds_of_Significance?f_ri=2601","dom_id":"work_19962987","summary":"This essay examines the stylistic and cultural aspects of what I call Hans Zimmer’s “Epic Style.” This powerful and understudied idiom has assumed a default status for a huge amount of musical multimedia in the new millennium. Zimmer’s maximalized minimalisms infuse films ranging from Drop Zone to Inception. Through analyses of these and other scores, I identify a number of structural components of this style and comment on how they reflect broad trends in Hollywood scoring practice. I conclude with a consideration of the role that masculinity, heroism, and military entertainment play in this incredibly influential and pervasive musical style.","downloadable_attachments":[{"id":53627998,"asset_id":19962987,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":67648,"first_name":"Frank","last_name":"Lehman","domain_name":"tufts","page_name":"FrankLehman","display_name":"Frank Lehman","profile_url":"https://tufts.academia.edu/FrankLehman?f_ri=2601","photo":"https://0.academia-photos.com/67648/18993/38593155/s65_frank.lehman.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601","nofollow":false},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false},{"id":39323,"name":"Film Music","url":"https://www.academia.edu/Documents/in/Film_Music?f_ri=2601","nofollow":false},{"id":304050,"name":"Music Scoring for Film","url":"https://www.academia.edu/Documents/in/Music_Scoring_for_Film?f_ri=2601"},{"id":955897,"name":"Hans Peter Zimmer","url":"https://www.academia.edu/Documents/in/Hans_Peter_Zimmer?f_ri=2601"},{"id":1252566,"name":"Militainment","url":"https://www.academia.edu/Documents/in/Militainment?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26430990 coauthored" data-work_id="26430990" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26430990/Relaciones_m%C3%BAsica_e_imagen_en_los_medios_audiovisuales">Relaciones música e imagen en los medios audiovisuales</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Este libro engloba diferentes campos de la investigación actual sobre música y medios audiovisuales. El objetivo de esta publicación es ofrecer al lector una visión multidisciplinar de las líneas de trabajo que se están desarrollando en... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26430990" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Este libro engloba diferentes campos de la investigación actual sobre música y medios audiovisuales. El objetivo de esta publicación es ofrecer al lector una visión multidisciplinar de las líneas de trabajo que se están desarrollando en el campo de estudio que se ocupa de las relaciones entre la música y la imagen. De esta manera, el volumen se divide en diferentes bloques: comienza con un apartado dedicado a cuestiones metodológicas, en el que se abordan debates fundamentales para el análisis de la música en el audiovisual, como las funciones de la música en el cine. Un segundo bloque se centra en la música del cine español en diferentes periodos de la historia. A continuación se examina la obra de diversos compositores para el cine (Alan Menken, José Nieto, Alberto Iglesias) y la presencia de la música en la filmografía de directores como Von Trier o Visconti. Otro apartado se dedica al análisis pormenorizado de la música de películas concretas con ejemplos que van desde el periodo del cine "mudo" hasta la actualidad. Tras los bloques dedicados específicamente al cine, recogemos otro tipo de investigaciones, comenzando con las que utilizan la relación música-imagen como herramienta pedagógica. A continuación, incluimos un apartado sobre la presencia de las músicas populares urbanas en los medios audiovisuales (cine, videoclip, videocjuego), así como el uso que hacen diversos géneros musicales, como el ska o el heavy, del lenguaje audiovisual. Para finalizar, dedicamos un apartado especial a la música en las series de televisión, con ejemplos tan populares como Pretty Little Liars o Cómo conocí a vuestra madre.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26430990" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a5ee0199e1e34126d77a5edded22ce22" rel="nofollow" data-download="{"attachment_id":46728135,"asset_id":26430990,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46728135/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="230708" href="https://uniovi.academia.edu/EduardoVi%C3%B1uela">Eduardo Viñuela</a><script data-card-contents-for-user="230708" type="text/json">{"id":230708,"first_name":"Eduardo","last_name":"Viñuela","domain_name":"uniovi","page_name":"EduardoViñuela","display_name":"Eduardo Viñuela","profile_url":"https://uniovi.academia.edu/EduardoVi%C3%B1uela?f_ri=2601","photo":"https://0.academia-photos.com/230708/2741294/16269795/s65_eduardo.vi_uela.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-26430990">+1</span><div class="hidden js-additional-users-26430990"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ucm.academia.edu/TeresaFraile">Teresa Fraile</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-26430990'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-26430990').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_26430990 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26430990"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26430990, container: ".js-paper-rank-work_26430990", }); });</script></li><li class="js-percentile-work_26430990 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26430990; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_26430990"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_26430990 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="26430990"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26430990; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26430990]").text(description); $(".js-view-count-work_26430990").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26430990").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26430990"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14595" href="https://www.academia.edu/Documents/in/Analysis_of_Film_Music">Analysis of Film Music</a>, <script data-card-contents-for-ri="14595" type="text/json">{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19258" href="https://www.academia.edu/Documents/in/Cinema">Cinema</a><script data-card-contents-for-ri="19258" type="text/json">{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26430990]'), work: {"id":26430990,"title":"Relaciones música e imagen en los medios audiovisuales","created_at":"2016-06-23T03:48:39.257-07:00","url":"https://www.academia.edu/26430990/Relaciones_m%C3%BAsica_e_imagen_en_los_medios_audiovisuales?f_ri=2601","dom_id":"work_26430990","summary":"Este libro engloba diferentes campos de la investigación actual sobre música y medios audiovisuales. El objetivo de esta publicación es ofrecer al lector una visión multidisciplinar de las líneas de trabajo que se están desarrollando en el campo de estudio que se ocupa de las relaciones entre la música y la imagen. De esta manera, el volumen se divide en diferentes bloques: comienza con un apartado dedicado a cuestiones metodológicas, en el que se abordan debates fundamentales para el análisis de la música en el audiovisual, como las funciones de la música en el cine. Un segundo bloque se centra en la música del cine español en diferentes periodos de la historia. A continuación se examina la obra de diversos compositores para el cine (Alan Menken, José Nieto, Alberto Iglesias) y la presencia de la música en la filmografía de directores como Von Trier o Visconti. Otro apartado se dedica al análisis pormenorizado de la música de películas concretas con ejemplos que van desde el periodo del cine \"mudo\" hasta la actualidad. Tras los bloques dedicados específicamente al cine, recogemos otro tipo de investigaciones, comenzando con las que utilizan la relación música-imagen como herramienta pedagógica. A continuación, incluimos un apartado sobre la presencia de las músicas populares urbanas en los medios audiovisuales (cine, videoclip, videocjuego), así como el uso que hacen diversos géneros musicales, como el ska o el heavy, del lenguaje audiovisual. Para finalizar, dedicamos un apartado especial a la música en las series de televisión, con ejemplos tan populares como Pretty Little Liars o Cómo conocí a vuestra madre.","downloadable_attachments":[{"id":46728135,"asset_id":26430990,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":230708,"first_name":"Eduardo","last_name":"Viñuela","domain_name":"uniovi","page_name":"EduardoViñuela","display_name":"Eduardo Viñuela","profile_url":"https://uniovi.academia.edu/EduardoVi%C3%B1uela?f_ri=2601","photo":"https://0.academia-photos.com/230708/2741294/16269795/s65_eduardo.vi_uela.jpg"},{"id":3110340,"first_name":"Teresa","last_name":"Fraile","domain_name":"ucm","page_name":"TeresaFraile","display_name":"Teresa Fraile","profile_url":"https://ucm.academia.edu/TeresaFraile?f_ri=2601","photo":"https://0.academia-photos.com/3110340/1021907/27433912/s65_teresa.fraile.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=2601","nofollow":false},{"id":21991,"name":"Film music and film music theory","url":"https://www.academia.edu/Documents/in/Film_music_and_film_music_theory?f_ri=2601"},{"id":31352,"name":"Music and the Moving Image","url":"https://www.academia.edu/Documents/in/Music_and_the_Moving_Image?f_ri=2601"},{"id":39323,"name":"Film Music","url":"https://www.academia.edu/Documents/in/Film_Music?f_ri=2601"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=2601"},{"id":99301,"name":"Música","url":"https://www.academia.edu/Documents/in/M%C3%BAsica?f_ri=2601"},{"id":150154,"name":"Cinema Música","url":"https://www.academia.edu/Documents/in/Cinema_Musica?f_ri=2601"},{"id":215944,"name":"Cine, musica, artes visuales","url":"https://www.academia.edu/Documents/in/Cine_musica_artes_visuales?f_ri=2601"},{"id":274096,"name":"Comunicación Audiovisual","url":"https://www.academia.edu/Documents/in/Comunicaci%C3%B3n_Audiovisual?f_ri=2601"},{"id":408255,"name":"Music and Cinema","url":"https://www.academia.edu/Documents/in/Music_and_Cinema?f_ri=2601"},{"id":675044,"name":"Comisión De Trabajo Música Y Lenguaje Audiovisual","url":"https://www.academia.edu/Documents/in/Comision_De_Trabajo_Musica_Y_Lenguaje_Audiovisual?f_ri=2601"},{"id":1113964,"name":"Music for Cinema","url":"https://www.academia.edu/Documents/in/Music_for_Cinema?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35446422" data-work_id="35446422" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35446422/_W_og%C3%B3le_jestem_niech%C4%99tny_d%C5%BAwi%C4%99kom_Muzyka_w_filmie_Tatarak_Andrzeja_Wajdy_As_a_rule_I_am_reluctant_towards_sound_Music_in_Andrzej_Wajdas_film_Sweet_Rush_">"W ogóle jestem niechętny dźwiękom". Muzyka w filmie "Tatarak" Andrzeja Wajdy ["As a rule, I am reluctant towards sound". Music in Andrzej Wajda's film "Sweet Rush"]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35446422" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between the literary and film works of these two artists and emphasizes three main motifs used by both of them: love and death, water and women’s themes. Next, Wajda’s attitude to music is analyzed. He treats sounds as an element of everyday life and, as is typical for our times, he is aware of the “dissolution” of musical works. In the next part, the author articulates the main problems of Sweet Rush, drawing attention to both Iwaszkiewicz’s novel and Wajda’s movie. The director’s adaptation, which is full of intermedia references, revolves around the theme of death and seems to underestimate the sexual aspect of Iwaszkiewicz’s work. Finally, Pawel Mykietyn’s soundtrack to Sweet Rush is interpreted. The composer used one of his earlier Shakespeare’s Sonnets (2000), which plays the role of a leitmotif, to illustrate the<br />most enigmatic, inexplicable scenes from Wajda’s movie. Thanks to its discrete, sparing and “austere” nature, Mykietyn’s music made the artistic composition of Sweet Rush more balanced and revealed the suggestiveness of this work.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35446422" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f62e3ce60fc8c9f715e548eb37694403" rel="nofollow" data-download="{"attachment_id":55307745,"asset_id":35446422,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55307745/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="29028686" href="https://independent.academia.edu/AnnaAlAraj">Anna Al-Araj</a><script data-card-contents-for-user="29028686" type="text/json">{"id":29028686,"first_name":"Anna","last_name":"Al-Araj","domain_name":"independent","page_name":"AnnaAlAraj","display_name":"Anna Al-Araj","profile_url":"https://independent.academia.edu/AnnaAlAraj?f_ri=2601","photo":"https://0.academia-photos.com/29028686/13837859/151898648/s65_anna.al-araj.jpg"}</script></span></span></li><li class="js-paper-rank-work_35446422 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35446422"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35446422, container: ".js-paper-rank-work_35446422", }); });</script></li><li class="js-percentile-work_35446422 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35446422; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35446422"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35446422 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35446422"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35446422; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35446422]").text(description); $(".js-view-count-work_35446422").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35446422").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35446422"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12872" href="https://www.academia.edu/Documents/in/Polish_Literature">Polish Literature</a>, <script data-card-contents-for-ri="12872" type="text/json">{"id":12872,"name":"Polish Literature","url":"https://www.academia.edu/Documents/in/Polish_Literature?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12876" href="https://www.academia.edu/Documents/in/Polish_Film">Polish Film</a><script data-card-contents-for-ri="12876" type="text/json">{"id":12876,"name":"Polish Film","url":"https://www.academia.edu/Documents/in/Polish_Film?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35446422]'), work: {"id":35446422,"title":"\"W ogóle jestem niechętny dźwiękom\". Muzyka w filmie \"Tatarak\" Andrzeja Wajdy [\"As a rule, I am reluctant towards sound\". Music in Andrzej Wajda's film \"Sweet Rush\"]","created_at":"2017-12-16T13:02:18.351-08:00","url":"https://www.academia.edu/35446422/_W_og%C3%B3le_jestem_niech%C4%99tny_d%C5%BAwi%C4%99kom_Muzyka_w_filmie_Tatarak_Andrzeja_Wajdy_As_a_rule_I_am_reluctant_towards_sound_Music_in_Andrzej_Wajdas_film_Sweet_Rush_?f_ri=2601","dom_id":"work_35446422","summary":"The aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between the literary and film works of these two artists and emphasizes three main motifs used by both of them: love and death, water and women’s themes. Next, Wajda’s attitude to music is analyzed. He treats sounds as an element of everyday life and, as is typical for our times, he is aware of the “dissolution” of musical works. In the next part, the author articulates the main problems of Sweet Rush, drawing attention to both Iwaszkiewicz’s novel and Wajda’s movie. The director’s adaptation, which is full of intermedia references, revolves around the theme of death and seems to underestimate the sexual aspect of Iwaszkiewicz’s work. Finally, Pawel Mykietyn’s soundtrack to Sweet Rush is interpreted. The composer used one of his earlier Shakespeare’s Sonnets (2000), which plays the role of a leitmotif, to illustrate the\nmost enigmatic, inexplicable scenes from Wajda’s movie. Thanks to its discrete, sparing and “austere” nature, Mykietyn’s music made the artistic composition of Sweet Rush more balanced and revealed the suggestiveness of this work.","downloadable_attachments":[{"id":55307745,"asset_id":35446422,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":29028686,"first_name":"Anna","last_name":"Al-Araj","domain_name":"independent","page_name":"AnnaAlAraj","display_name":"Anna Al-Araj","profile_url":"https://independent.academia.edu/AnnaAlAraj?f_ri=2601","photo":"https://0.academia-photos.com/29028686/13837859/151898648/s65_anna.al-araj.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":12872,"name":"Polish Literature","url":"https://www.academia.edu/Documents/in/Polish_Literature?f_ri=2601","nofollow":false},{"id":12876,"name":"Polish Film","url":"https://www.academia.edu/Documents/in/Polish_Film?f_ri=2601","nofollow":false},{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=2601"},{"id":21991,"name":"Film music and film music theory","url":"https://www.academia.edu/Documents/in/Film_music_and_film_music_theory?f_ri=2601"},{"id":39323,"name":"Film Music","url":"https://www.academia.edu/Documents/in/Film_Music?f_ri=2601"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=2601"},{"id":710093,"name":"Andrzej Wajda","url":"https://www.academia.edu/Documents/in/Andrzej_Wajda?f_ri=2601"},{"id":845325,"name":"Jarosław Iwaszkiewicz","url":"https://www.academia.edu/Documents/in/Jaroslaw_Iwaszkiewicz?f_ri=2601"},{"id":2472972,"name":"Paweł Mykietyn","url":"https://www.academia.edu/Documents/in/Pawe%C5%82_Mykietyn?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43387478" data-work_id="43387478" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43387478/Shot_Transitions_and_Narrative_Logic_in_Hitchcocks_Rope">Shot Transitions and Narrative Logic in Hitchcock's Rope</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Rope (1948, Alfred Hitchcock) belongs to a group of films including Lady in the Lake (1947, Robert Mont-gomery) which, in the history of classical Hollywood cinema, have experimented with the conventions of the continuity editing system,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43387478" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Rope (1948, Alfred Hitchcock) belongs to a group of films including Lady in the Lake (1947, Robert Mont-gomery) which, in the history of classical Hollywood cinema, have experimented with the conventions of the continuity editing system, hoping perhaps to achieve a heightened spectatorial identification with the narrative, through a consistent use of the point-of-view shot for instance, or a seemingly uninterrupted long take with camera movement. These experiments are informative in that they tend rather to confirm the established system's apparent neutrality, its ability at "invisible" narration. I will argue that Rope's attempts at creating "hidden" cuts, chiefly through camera movement and close-ups of a jacket, result in defamiliarizing classical découpage: the "hidden" cuts become much more noticeable than those involving eyeline matches, in particular.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43387478" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a9500601f9410cbd4dacf4345a732402" rel="nofollow" data-download="{"attachment_id":63682881,"asset_id":43387478,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63682881/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="48980511" href="https://campioncollege.academia.edu/PhilippeMather">Philippe D Mather</a><script data-card-contents-for-user="48980511" type="text/json">{"id":48980511,"first_name":"Philippe","last_name":"Mather","domain_name":"campioncollege","page_name":"PhilippeMather","display_name":"Philippe D Mather","profile_url":"https://campioncollege.academia.edu/PhilippeMather?f_ri=2601","photo":"https://0.academia-photos.com/48980511/17421015/17509643/s65_philippe.mather.jpg"}</script></span></span></li><li class="js-paper-rank-work_43387478 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43387478"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43387478, container: ".js-paper-rank-work_43387478", }); });</script></li><li class="js-percentile-work_43387478 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43387478; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43387478"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43387478 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43387478"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43387478; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43387478]").text(description); $(".js-view-count-work_43387478").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43387478").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43387478"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11100" href="https://www.academia.edu/Documents/in/Science_Fiction_Film">Science Fiction Film</a>, <script data-card-contents-for-ri="11100" type="text/json">{"id":11100,"name":"Science Fiction Film","url":"https://www.academia.edu/Documents/in/Science_Fiction_Film?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23645" href="https://www.academia.edu/Documents/in/Stanley_Kubrick">Stanley Kubrick</a>, <script data-card-contents-for-ri="23645" type="text/json">{"id":23645,"name":"Stanley Kubrick","url":"https://www.academia.edu/Documents/in/Stanley_Kubrick?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="51334" href="https://www.academia.edu/Documents/in/Orientalism">Orientalism</a><script data-card-contents-for-ri="51334" type="text/json">{"id":51334,"name":"Orientalism","url":"https://www.academia.edu/Documents/in/Orientalism?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43387478]'), work: {"id":43387478,"title":"Shot Transitions and Narrative Logic in Hitchcock's Rope","created_at":"2020-06-19T14:05:20.370-07:00","url":"https://www.academia.edu/43387478/Shot_Transitions_and_Narrative_Logic_in_Hitchcocks_Rope?f_ri=2601","dom_id":"work_43387478","summary":"Rope (1948, Alfred Hitchcock) belongs to a group of films including Lady in the Lake (1947, Robert Mont-gomery) which, in the history of classical Hollywood cinema, have experimented with the conventions of the continuity editing system, hoping perhaps to achieve a heightened spectatorial identification with the narrative, through a consistent use of the point-of-view shot for instance, or a seemingly uninterrupted long take with camera movement. These experiments are informative in that they tend rather to confirm the established system's apparent neutrality, its ability at \"invisible\" narration. I will argue that Rope's attempts at creating \"hidden\" cuts, chiefly through camera movement and close-ups of a jacket, result in defamiliarizing classical découpage: the \"hidden\" cuts become much more noticeable than those involving eyeline matches, in particular. ","downloadable_attachments":[{"id":63682881,"asset_id":43387478,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":48980511,"first_name":"Philippe","last_name":"Mather","domain_name":"campioncollege","page_name":"PhilippeMather","display_name":"Philippe D Mather","profile_url":"https://campioncollege.academia.edu/PhilippeMather?f_ri=2601","photo":"https://0.academia-photos.com/48980511/17421015/17509643/s65_philippe.mather.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":11100,"name":"Science Fiction Film","url":"https://www.academia.edu/Documents/in/Science_Fiction_Film?f_ri=2601","nofollow":false},{"id":23645,"name":"Stanley Kubrick","url":"https://www.academia.edu/Documents/in/Stanley_Kubrick?f_ri=2601","nofollow":false},{"id":51334,"name":"Orientalism","url":"https://www.academia.edu/Documents/in/Orientalism?f_ri=2601","nofollow":false},{"id":998286,"name":"Singapore Film Art","url":"https://www.academia.edu/Documents/in/Singapore_Film_Art?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10809271" data-work_id="10809271" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10809271/Seung_Hoon_Jeong_Cinematic_Interfaces_Film_Theory_After_New_Media">Seung-Hoon Jeong: Cinematic Interfaces. Film Theory After New Media</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10809271" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen Interaktionen zwischen UserIn und Maschine zur Geltung gebracht werden.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10809271" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ab4cf48950e92dfbe5433a34e9382ac3" rel="nofollow" data-download="{"attachment_id":36659249,"asset_id":10809271,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36659249/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13079251" href="https://fh-muenster.academia.edu/LarsChristianGrabbe">Lars Christian Grabbe</a><script data-card-contents-for-user="13079251" type="text/json">{"id":13079251,"first_name":"Lars Christian","last_name":"Grabbe","domain_name":"fh-muenster","page_name":"LarsChristianGrabbe","display_name":"Lars Christian Grabbe","profile_url":"https://fh-muenster.academia.edu/LarsChristianGrabbe?f_ri=2601","photo":"https://0.academia-photos.com/13079251/3689520/160555875/s65_lars_christian.grabbe.jpeg"}</script></span></span></li><li class="js-paper-rank-work_10809271 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10809271"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10809271, container: ".js-paper-rank-work_10809271", }); 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href="https://www.academia.edu/9779397/Musical_migration_perverted_instruments_and_cosmic_sounds_queer_constructions_in_the_music_and_sound_of_Angels_in_America">Musical migration, perverted instruments and cosmic sounds: queer constructions in the music and sound of Angels in America</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this article I consider musical and other sonic constructions of queer identity in the television film, Angels in America (HBO, 2003). I outline various queer strategies in the music and sound of the film, demonstrating how music and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9779397" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this article I consider musical and other sonic constructions of queer identity in the television film, Angels in America (HBO, 2003).  I outline various queer strategies in the music and sound of the film, demonstrating how music and sound contribute to unfixed and unstable identities. The readings of the selected scenes in the film reveal the ways in which queer strategies operate, and how film music symbolises identity in flux.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9779397" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7e423400969bb430466f257f5404ddf1" rel="nofollow" data-download="{"attachment_id":35956278,"asset_id":9779397,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35956278/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="23013128" href="https://helsinki.academia.edu/SusannaV%C3%A4lim%C3%A4ki">Susanna Välimäki</a><script data-card-contents-for-user="23013128" type="text/json">{"id":23013128,"first_name":"Susanna","last_name":"Välimäki","domain_name":"helsinki","page_name":"SusannaVälimäki","display_name":"Susanna Välimäki","profile_url":"https://helsinki.academia.edu/SusannaV%C3%A4lim%C3%A4ki?f_ri=2601","photo":"https://0.academia-photos.com/23013128/6246551/7074791/s65_susanna.v_lim_ki.jpg"}</script></span></span></li><li class="js-paper-rank-work_9779397 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9779397"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9779397, container: ".js-paper-rank-work_9779397", }); 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$(".js-view-count[data-work-id=9779397]").text(description); $(".js-view-count-work_9779397").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9779397").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9779397"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="699" href="https://www.academia.edu/Documents/in/Queer_Studies">Queer Studies</a>, <script data-card-contents-for-ri="699" type="text/json">{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1169" href="https://www.academia.edu/Documents/in/Sound_and_Image">Sound and Image</a><script data-card-contents-for-ri="1169" type="text/json">{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9779397]'), work: {"id":9779397,"title":"Musical migration, perverted instruments and cosmic sounds: queer constructions in the music and sound of Angels in America","created_at":"2014-12-15T07:25:08.922-08:00","url":"https://www.academia.edu/9779397/Musical_migration_perverted_instruments_and_cosmic_sounds_queer_constructions_in_the_music_and_sound_of_Angels_in_America?f_ri=2601","dom_id":"work_9779397","summary":"In this article I consider musical and other sonic constructions of queer identity in the television film, Angels in America (HBO, 2003). I outline various queer strategies in the music and sound of the film, demonstrating how music and sound contribute to unfixed and unstable identities. The readings of the selected scenes in the film reveal the ways in which queer strategies operate, and how film music symbolises identity in flux.","downloadable_attachments":[{"id":35956278,"asset_id":9779397,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":23013128,"first_name":"Susanna","last_name":"Välimäki","domain_name":"helsinki","page_name":"SusannaVälimäki","display_name":"Susanna Välimäki","profile_url":"https://helsinki.academia.edu/SusannaV%C3%A4lim%C3%A4ki?f_ri=2601","photo":"https://0.academia-photos.com/23013128/6246551/7074791/s65_susanna.v_lim_ki.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2601","nofollow":false},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies?f_ri=2601","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=2601","nofollow":false},{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory?f_ri=2601"},{"id":4918,"name":"Gay And Lesbian Studies","url":"https://www.academia.edu/Documents/in/Gay_And_Lesbian_Studies?f_ri=2601"},{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=2601"},{"id":25068,"name":"Critical Musicology","url":"https://www.academia.edu/Documents/in/Critical_Musicology?f_ri=2601"},{"id":64172,"name":"Television Music","url":"https://www.academia.edu/Documents/in/Television_Music?f_ri=2601"},{"id":233410,"name":"Tony Kushner","url":"https://www.academia.edu/Documents/in/Tony_Kushner?f_ri=2601"},{"id":514555,"name":"Angels in America","url":"https://www.academia.edu/Documents/in/Angels_in_America?f_ri=2601"},{"id":855051,"name":"Queer Musicology","url":"https://www.academia.edu/Documents/in/Queer_Musicology?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31934325" data-work_id="31934325" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31934325/L_ambivalence_de_la_musique_dans_No_de_Pablo_Larra%C3%ADn_entre_empathie_lib%C3%A9ratrice_et_mise_%C3%A0_distance">L’ambivalence de la musique dans No de Pablo Larraín : entre empathie libératrice et mise à distance</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La musique joue un rôle de premier plan dans le film No de Pablo Larraín, un rôle ambivalent qui oscille constamment entre empathie et décalage ironique. Elle semble remplir, en premier lieu, une fonction de support empathique de l’élan... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31934325" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La musique  joue un rôle de premier plan dans le film No de Pablo Larraín, un rôle ambivalent qui oscille constamment entre empathie et décalage ironique. Elle semble remplir, en premier lieu, une fonction de support empathique de l’élan qui portera une majorité de Chiliens à voter « No » au référendum du 5 octobre 1988. Il s’agit alors principalement de chansons intradiégégiques, de citations de morceaux composés ou utilisés lors de la campagne de 1988 par les partisans du « No », s’opposant aux mélodies choisies pour illustrer l’option du « oui ». Néanmoins, la fonction empathique des chansons est mise à distance dans le film par l’intermédiaire des écrans, dont les surcadrages permanents créent un filtre qui renvoie au décalage entre les différentes temporalités, diégétique et de réalisation – tout comme la participations de certains protagonistes de 1988, mais ayant vieilli de 25 ans. Ces procédés, guident la perception du spectateur de la deuxième décennie du XXIe siècle qui est invité à adopter un premier recul par rapport à la vague d’enthousiasme destinée à emporter l’adhésion des chiliens de la fin des années 80, tout en renforçant, par ailleurs l’aspect ridicule des mélodies choisies pour appuyer l’option  « oui » à travers le filtre des réactions des personnages. <br />La partition extradiégétique, principalement composée de citations d’œuvres de répertoire, introduit une distance ironique par rapport aux images, imposant une écoute consciente au spectateur, l’invitant à prendre un recul critique par rapport à ce qui lui est donné à voir. Enfin, les rares moments de musique originale, dans le registre du pastiche postmoderne, en revendiquant le caractère fictionnel de l’œuvre en tant que « reportage fabriqué », invitent également le spectateur à une lecture critique.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31934325" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9b94e8fb386e47d4f878365951e97050" rel="nofollow" data-download="{"attachment_id":75494902,"asset_id":31934325,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/75494902/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22581947" href="https://sorbonne-universite.academia.edu/MarianneBlochRobin">Marianne Bloch-Robin</a><script data-card-contents-for-user="22581947" type="text/json">{"id":22581947,"first_name":"Marianne","last_name":"Bloch-Robin","domain_name":"sorbonne-universite","page_name":"MarianneBlochRobin","display_name":"Marianne Bloch-Robin","profile_url":"https://sorbonne-universite.academia.edu/MarianneBlochRobin?f_ri=2601","photo":"https://0.academia-photos.com/22581947/7378057/8294440/s65_marianne.bloch-robin.jpg"}</script></span></span></li><li class="js-paper-rank-work_31934325 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31934325"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31934325, container: ".js-paper-rank-work_31934325", }); });</script></li><li class="js-percentile-work_31934325 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31934325; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_31934325"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_31934325 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="31934325"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31934325; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31934325]").text(description); $(".js-view-count-work_31934325").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31934325").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31934325"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13530" href="https://www.academia.edu/Documents/in/Chile">Chile</a>, <script data-card-contents-for-ri="13530" type="text/json">{"id":13530,"name":"Chile","url":"https://www.academia.edu/Documents/in/Chile?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="757908" href="https://www.academia.edu/Documents/in/Pablo_Larrain">Pablo Larrain</a><script data-card-contents-for-ri="757908" type="text/json">{"id":757908,"name":"Pablo Larrain","url":"https://www.academia.edu/Documents/in/Pablo_Larrain?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31934325]'), work: {"id":31934325,"title":"L’ambivalence de la musique dans No de Pablo Larraín : entre empathie libératrice et mise à distance","created_at":"2017-03-19T13:39:04.793-07:00","url":"https://www.academia.edu/31934325/L_ambivalence_de_la_musique_dans_No_de_Pablo_Larra%C3%ADn_entre_empathie_lib%C3%A9ratrice_et_mise_%C3%A0_distance?f_ri=2601","dom_id":"work_31934325","summary":"La musique joue un rôle de premier plan dans le film No de Pablo Larraín, un rôle ambivalent qui oscille constamment entre empathie et décalage ironique. Elle semble remplir, en premier lieu, une fonction de support empathique de l’élan qui portera une majorité de Chiliens à voter « No » au référendum du 5 octobre 1988. Il s’agit alors principalement de chansons intradiégégiques, de citations de morceaux composés ou utilisés lors de la campagne de 1988 par les partisans du « No », s’opposant aux mélodies choisies pour illustrer l’option du « oui ». Néanmoins, la fonction empathique des chansons est mise à distance dans le film par l’intermédiaire des écrans, dont les surcadrages permanents créent un filtre qui renvoie au décalage entre les différentes temporalités, diégétique et de réalisation – tout comme la participations de certains protagonistes de 1988, mais ayant vieilli de 25 ans. Ces procédés, guident la perception du spectateur de la deuxième décennie du XXIe siècle qui est invité à adopter un premier recul par rapport à la vague d’enthousiasme destinée à emporter l’adhésion des chiliens de la fin des années 80, tout en renforçant, par ailleurs l’aspect ridicule des mélodies choisies pour appuyer l’option « oui » à travers le filtre des réactions des personnages. \nLa partition extradiégétique, principalement composée de citations d’œuvres de répertoire, introduit une distance ironique par rapport aux images, imposant une écoute consciente au spectateur, l’invitant à prendre un recul critique par rapport à ce qui lui est donné à voir. Enfin, les rares moments de musique originale, dans le registre du pastiche postmoderne, en revendiquant le caractère fictionnel de l’œuvre en tant que « reportage fabriqué », invitent également le spectateur à une lecture critique.\n","downloadable_attachments":[{"id":75494902,"asset_id":31934325,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22581947,"first_name":"Marianne","last_name":"Bloch-Robin","domain_name":"sorbonne-universite","page_name":"MarianneBlochRobin","display_name":"Marianne Bloch-Robin","profile_url":"https://sorbonne-universite.academia.edu/MarianneBlochRobin?f_ri=2601","photo":"https://0.academia-photos.com/22581947/7378057/8294440/s65_marianne.bloch-robin.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":13530,"name":"Chile","url":"https://www.academia.edu/Documents/in/Chile?f_ri=2601","nofollow":false},{"id":757908,"name":"Pablo Larrain","url":"https://www.academia.edu/Documents/in/Pablo_Larrain?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_71319606" data-work_id="71319606" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/71319606/Shaping_Abstractions_Eye_Tracking_Experimental_Film">Shaping Abstractions: Eye Tracking Experimental Film</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">... One can and perhaps should posit, consequently, that this has led to at least two central areas being presently under-researched and largely ignored in eyetracking studies. First, the gaze analysis of film and television documentary.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_71319606" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">... One can and perhaps should posit, consequently, that this has led to at least two central areas being presently under-researched and largely ignored in eyetracking studies. First, the gaze analysis of film and television documentary. Second, the evaluation of experimental film in relation to gaze patterns and modes of attention and comprehension (see Redmond and Batty 2015 ). It is the aim of this chapter to rectify this absence by attending to one of these research deficiencies – the exploration of experimental film – through a combination of eye-tracking analysis and post-screening questionnaires (more on this to follow). More specifically, the central aim of this chapter is to bring eye-tracking technology to those experimental films that not only eschew the codes and conventions of narrative cinema, but offer the viewer only abstract shapes and silence or discordant sound with which to engage, gaze upon, listen or attend. Our focus, then, will centrally be on abstract experiment film with one notable exception, the Stargate sequence from 2001 (Kubrick 1967), employed as a counterpoint to assess how abstraction is viewed in what is otherwise predominately an art-narrative science fiction film. We have chosen to focus on abstract experimental film for three reasons: first, devoid of human bodies and interactions, the observable screen is a chaotic canvass without obvious narrative cues or continuity principles to ‘bind’ the viewer and to hold their attention. Our meta questions grow from this concern: where do we look and what do we gaze upon when faced with lines, colours and contours that are not defined or have full definition? What do we comprehend when faced with lines of abstraction? What memorial and emotional work do we undertake to make sense of the fragmented and fragmentary worlds of abstract experimental film? In terms of narrative cinema, the tendency to fixate on the centre of an image, termed the central bias, is a well-documented phenomenon (Vitu et al. 2004 ; Tatler 2007 ).The contention in this chapter is that the pull to the centre may well be torn apart by abstract experimental cinema’s tendency to treat the screen’s margins or peripheries as elemental to its shape-making and aesthetic explorations (Brown 2015). Second, the chosen films have a high degree of materiality or texturality: they are made up of impressionable surfaces and these are unevenly layered over one another. Our meta questions here are framed as follows: what do we see when the screen is itself moving like a living tissue or a conductive surface? How might such forms of sensory and organic abstraction affect our emotional responses? What memories might we draw upon to comprehend and make meaning out of such abstractions? When viewing narrative cinema, there are two primary cognitive theories addressing what drives the control of the placement of our fixations. According to the visual saliency hypothesis, fixation locations are selected based on image properties generated in a bottom-up manner from the current scene (Theeuwes 2010 ). This is where gaze control, to a large degree, is a reaction to the visual properties of the stimulus being viewed. In contrast, the cognitive control hypothesis maintains that fixation sites are targeted based on the drive of the cognitive system in relation to the current task in a top-down model ( Hayhoe and Ballard 2005 ; Henderson et al. 2007 ). The cognitive hypothesis posits that eye movements are primarily controlled by task goals interacting with both a semantic interpretation of the scene and our memories from similar past viewing experiences( Henderson and Ferreira 2004 ). The distribution of fixations over a scene is also subject to change, depending on whether the viewer is searching for something or trying to memorize something from that scene ( Henderson et al. 1999 ). By contrast, embodiment theory and film phenomenology extend the reading of fixations to draw on the idea of the co-synesthetic qualities of proprioception ( Sobchack 2004 ), or the theory that all the senses are drawn upon when viewing the moving image. Third, the chosen films have a discordant soundtrack or have no sound at all. Where there is sound, it is both asynchronous and atonal, or it is used to signify disembodied flight and transcendence. When sound is absent, the image is left fl uttering away on the screen, its own mausoleum. The meta questions that frame our thinking here are: what affect does discordant sound have on gazing and comprehending? Does a silent abstract film produce a different type of gaze pattern and sense of forbearance and/or reverie? How do viewer’s match image abstraction to acousmatic sound ( Chion 1994 )? The three films we have chosen to analyse as our case studies for this chapter are: Mothlight (Brakhage 1963), La Région Centrale (Snow 1971) and our counterpoint text, 2001 (Kubrick 1967). Each film presents us with a different type of experimental abstraction and…</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/71319606" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1192210" href="https://acu-au.academia.edu/JodiSita">Jodi Sita</a><script data-card-contents-for-user="1192210" type="text/json">{"id":1192210,"first_name":"Jodi","last_name":"Sita","domain_name":"acu-au","page_name":"JodiSita","display_name":"Jodi Sita","profile_url":"https://acu-au.academia.edu/JodiSita?f_ri=2601","photo":"https://0.academia-photos.com/1192210/895598/1119077/s65_jodi.sita.jpg"}</script></span></span></li><li class="js-paper-rank-work_71319606 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="71319606"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 71319606, container: ".js-paper-rank-work_71319606", }); 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One can and perhaps should posit, consequently, that this has led to at least two central areas being presently under-researched and largely ignored in eyetracking studies. First, the gaze analysis of film and television documentary. Second, the evaluation of experimental film in relation to gaze patterns and modes of attention and comprehension (see Redmond and Batty 2015 ). It is the aim of this chapter to rectify this absence by attending to one of these research deficiencies – the exploration of experimental film – through a combination of eye-tracking analysis and post-screening questionnaires (more on this to follow). More specifically, the central aim of this chapter is to bring eye-tracking technology to those experimental films that not only eschew the codes and conventions of narrative cinema, but offer the viewer only abstract shapes and silence or discordant sound with which to engage, gaze upon, listen or attend. Our focus, then, will centrally be on abstract experiment film with one notable exception, the Stargate sequence from 2001 (Kubrick 1967), employed as a counterpoint to assess how abstraction is viewed in what is otherwise predominately an art-narrative science fiction film. We have chosen to focus on abstract experimental film for three reasons: first, devoid of human bodies and interactions, the observable screen is a chaotic canvass without obvious narrative cues or continuity principles to ‘bind’ the viewer and to hold their attention. Our meta questions grow from this concern: where do we look and what do we gaze upon when faced with lines, colours and contours that are not defined or have full definition? What do we comprehend when faced with lines of abstraction? What memorial and emotional work do we undertake to make sense of the fragmented and fragmentary worlds of abstract experimental film? In terms of narrative cinema, the tendency to fixate on the centre of an image, termed the central bias, is a well-documented phenomenon (Vitu et al. 2004 ; Tatler 2007 ).The contention in this chapter is that the pull to the centre may well be torn apart by abstract experimental cinema’s tendency to treat the screen’s margins or peripheries as elemental to its shape-making and aesthetic explorations (Brown 2015). Second, the chosen films have a high degree of materiality or texturality: they are made up of impressionable surfaces and these are unevenly layered over one another. Our meta questions here are framed as follows: what do we see when the screen is itself moving like a living tissue or a conductive surface? How might such forms of sensory and organic abstraction affect our emotional responses? What memories might we draw upon to comprehend and make meaning out of such abstractions? When viewing narrative cinema, there are two primary cognitive theories addressing what drives the control of the placement of our fixations. According to the visual saliency hypothesis, fixation locations are selected based on image properties generated in a bottom-up manner from the current scene (Theeuwes 2010 ). This is where gaze control, to a large degree, is a reaction to the visual properties of the stimulus being viewed. In contrast, the cognitive control hypothesis maintains that fixation sites are targeted based on the drive of the cognitive system in relation to the current task in a top-down model ( Hayhoe and Ballard 2005 ; Henderson et al. 2007 ). The cognitive hypothesis posits that eye movements are primarily controlled by task goals interacting with both a semantic interpretation of the scene and our memories from similar past viewing experiences( Henderson and Ferreira 2004 ). The distribution of fixations over a scene is also subject to change, depending on whether the viewer is searching for something or trying to memorize something from that scene ( Henderson et al. 1999 ). By contrast, embodiment theory and film phenomenology extend the reading of fixations to draw on the idea of the co-synesthetic qualities of proprioception ( Sobchack 2004 ), or the theory that all the senses are drawn upon when viewing the moving image. Third, the chosen films have a discordant soundtrack or have no sound at all. Where there is sound, it is both asynchronous and atonal, or it is used to signify disembodied flight and transcendence. When sound is absent, the image is left fl uttering away on the screen, its own mausoleum. The meta questions that frame our thinking here are: what affect does discordant sound have on gazing and comprehending? Does a silent abstract film produce a different type of gaze pattern and sense of forbearance and/or reverie? How do viewer’s match image abstraction to acousmatic sound ( Chion 1994 )? The three films we have chosen to analyse as our case studies for this chapter are: Mothlight (Brakhage 1963), La Région Centrale (Snow 1971) and our counterpoint text, 2001 (Kubrick 1967). Each film presents us with a different type of experimental abstraction and…","downloadable_attachments":[],"ordered_authors":[{"id":1192210,"first_name":"Jodi","last_name":"Sita","domain_name":"acu-au","page_name":"JodiSita","display_name":"Jodi Sita","profile_url":"https://acu-au.academia.edu/JodiSita?f_ri=2601","photo":"https://0.academia-photos.com/1192210/895598/1119077/s65_jodi.sita.jpg"}],"research_interests":[{"id":422,"name":"Computer Science","url":"https://www.academia.edu/Documents/in/Computer_Science?f_ri=2601","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":1755,"name":"Eye tracking","url":"https://www.academia.edu/Documents/in/Eye_tracking?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601"},{"id":5583,"name":"Audience and Reception Studies","url":"https://www.academia.edu/Documents/in/Audience_and_Reception_Studies?f_ri=2601"},{"id":16349,"name":"Cognitive Film Theory","url":"https://www.academia.edu/Documents/in/Cognitive_Film_Theory?f_ri=2601"},{"id":32983,"name":"Experimental Film","url":"https://www.academia.edu/Documents/in/Experimental_Film?f_ri=2601"},{"id":52708,"name":"Audiovisual Translation (subtitling)","url":"https://www.academia.edu/Documents/in/Audiovisual_Translation_subtitling_?f_ri=2601"},{"id":69253,"name":"Stardom and Celebrity","url":"https://www.academia.edu/Documents/in/Stardom_and_Celebrity?f_ri=2601"},{"id":109405,"name":"Film Philosophy","url":"https://www.academia.edu/Documents/in/Film_Philosophy?f_ri=2601"},{"id":453911,"name":"Slow Cinema","url":"https://www.academia.edu/Documents/in/Slow_Cinema?f_ri=2601"},{"id":959771,"name":"Film Phenomenology","url":"https://www.academia.edu/Documents/in/Film_Phenomenology?f_ri=2601"},{"id":1035832,"name":"Media \u0026 Film Psychology","url":"https://www.academia.edu/Documents/in/Media_and_Film_Psychology?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44029949" data-work_id="44029949" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44029949/Danse_macabre_%D1%81%D1%80%D0%B5%D0%B4%D0%BD%D0%B5%D0%B2%D0%B5%D0%BA%D0%BE%D0%B2%D0%B0%D1%8F_%D0%B0%D0%BB%D0%BB%D0%B5%D0%B3%D0%BE%D1%80%D0%B8%D1%8F_%D0%B2_%D1%84%D0%B8%D0%BB%D1%8C%D0%BC%D0%B0%D1%85_%D0%98_%D0%91%D0%B5%D1%80%D0%B3%D0%BC%D0%B0%D0%BD%D0%B0_%D0%B8_%D0%9F_%D0%9F%D0%B0%D0%B7%D0%BE%D0%BB%D0%B8%D0%BD%D0%B8">Danse macabre: средневековая аллегория в фильмах И. Бергмана и П. Пазолини</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Статья посвящена средневековой аллегории Danse macabre и ее кинематографическим интерпретациям. Отмечается особая концентрированность, мотивная многосоставность данной средневековой эмблемы, позволяющая интерпретировать ее как понятие,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44029949" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Статья посвящена средневековой аллегории Danse macabre и ее кинематографическим интерпретациям. Отмечается особая концентрированность, мотивная многосоставность данной средневековой эмблемы, позволяющая интерпретировать ее как понятие, обобщающее разнообразную — визуальную и звуковую — символику Средневековья, связанную с идеей всеобщего равенства в Смерти.<br />В качестве отличительной особенности данной аллегории отмечается также ее контекстуальная укорененность в катастрофическом типе сознания, присущем позднему Средневековью. Это делает ее подобием специфической призмы, путешествующей сквозь столетия и преломляющей в себе эстетические, этические, социокультурные ориентиры эпох со схожими кризисными аспектами в становлении картины мира.<br />В данной работе нас интересует, как авторский кинематограф ХХ столетия, обращающийся к Средневековью с его символической системой мышления, воспроизводит мотив Danse macabre на новом языковом уровне — впрямую или косвенно — через отдельные аудиальные и визуальные элементы аллегорических построений. И здесь две картины — «Седьмая печать» И. Бергмана и «Декамерон» П. Пазолини представляют весьма примечательную пару. Обе обращаются к исторической ситуации Черной смерти (XIV век). Однако, разница трактовок аллегории<br />Danse macabre у двух художников словно воспроизводит перелом самого исторического сознания (и в следствие этого — меняющейся на протяжении эпохи сути самой аллегории) — от средневекового эсхатологического ужаса и поисков подлинности бытия к ренессансному амбивалентному видению.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44029949" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5aa4ee2bd0e99ee159d7b3810e0c6415" rel="nofollow" data-download="{"attachment_id":64367740,"asset_id":44029949,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64367740/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="47961616" href="https://sias.academia.edu/NataliaKononenko">Natalia Kononenko</a><script data-card-contents-for-user="47961616" type="text/json">{"id":47961616,"first_name":"Natalia","last_name":"Kononenko","domain_name":"sias","page_name":"NataliaKononenko","display_name":"Natalia Kononenko","profile_url":"https://sias.academia.edu/NataliaKononenko?f_ri=2601","photo":"https://0.academia-photos.com/47961616/13490201/21445467/s65_natalia.kononenko.jpg"}</script></span></span></li><li class="js-paper-rank-work_44029949 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44029949"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44029949, container: ".js-paper-rank-work_44029949", }); 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$(".js-view-count[data-work-id=44029949]").text(description); $(".js-view-count-work_44029949").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44029949").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44029949"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2106" href="https://www.academia.edu/Documents/in/Film_Sound">Film Sound</a>, <script data-card-contents-for-ri="2106" type="text/json">{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44029949]'), work: {"id":44029949,"title":"Danse macabre: средневековая аллегория в фильмах И. Бергмана и П. Пазолини","created_at":"2020-09-06T17:08:38.012-07:00","url":"https://www.academia.edu/44029949/Danse_macabre_%D1%81%D1%80%D0%B5%D0%B4%D0%BD%D0%B5%D0%B2%D0%B5%D0%BA%D0%BE%D0%B2%D0%B0%D1%8F_%D0%B0%D0%BB%D0%BB%D0%B5%D0%B3%D0%BE%D1%80%D0%B8%D1%8F_%D0%B2_%D1%84%D0%B8%D0%BB%D1%8C%D0%BC%D0%B0%D1%85_%D0%98_%D0%91%D0%B5%D1%80%D0%B3%D0%BC%D0%B0%D0%BD%D0%B0_%D0%B8_%D0%9F_%D0%9F%D0%B0%D0%B7%D0%BE%D0%BB%D0%B8%D0%BD%D0%B8?f_ri=2601","dom_id":"work_44029949","summary":"Статья посвящена средневековой аллегории Danse macabre и ее кинематографическим интерпретациям. Отмечается особая концентрированность, мотивная многосоставность данной средневековой эмблемы, позволяющая интерпретировать ее как понятие, обобщающее разнообразную — визуальную и звуковую — символику Средневековья, связанную с идеей всеобщего равенства в Смерти.\nВ качестве отличительной особенности данной аллегории отмечается также ее контекстуальная укорененность в катастрофическом типе сознания, присущем позднему Средневековью. Это делает ее подобием специфической призмы, путешествующей сквозь столетия и преломляющей в себе эстетические, этические, социокультурные ориентиры эпох со схожими кризисными аспектами в становлении картины мира.\nВ данной работе нас интересует, как авторский кинематограф ХХ столетия, обращающийся к Средневековью с его символической системой мышления, воспроизводит мотив Danse macabre на новом языковом уровне — впрямую или косвенно — через отдельные аудиальные и визуальные элементы аллегорических построений. И здесь две картины — «Седьмая печать» И. Бергмана и «Декамерон» П. Пазолини представляют весьма примечательную пару. Обе обращаются к исторической ситуации Черной смерти (XIV век). Однако, разница трактовок аллегории\nDanse macabre у двух художников словно воспроизводит перелом самого исторического сознания (и в следствие этого — меняющейся на протяжении эпохи сути самой аллегории) — от средневекового эсхатологического ужаса и поисков подлинности бытия к ренессансному амбивалентному видению.","downloadable_attachments":[{"id":64367740,"asset_id":44029949,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":47961616,"first_name":"Natalia","last_name":"Kononenko","domain_name":"sias","page_name":"NataliaKononenko","display_name":"Natalia Kononenko","profile_url":"https://sias.academia.edu/NataliaKononenko?f_ri=2601","photo":"https://0.academia-photos.com/47961616/13490201/21445467/s65_natalia.kononenko.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=2601","nofollow":false},{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=2601"},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601"},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=2601"},{"id":21991,"name":"Film music and film music theory","url":"https://www.academia.edu/Documents/in/Film_music_and_film_music_theory?f_ri=2601"},{"id":22778,"name":"Ingmar Bergman Films","url":"https://www.academia.edu/Documents/in/Ingmar_Bergman_Films?f_ri=2601"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=2601"},{"id":39323,"name":"Film Music","url":"https://www.academia.edu/Documents/in/Film_Music?f_ri=2601"},{"id":59003,"name":"Pier Paolo Pasolini","url":"https://www.academia.edu/Documents/in/Pier_Paolo_Pasolini?f_ri=2601"},{"id":558424,"name":"The Seventh Seal","url":"https://www.academia.edu/Documents/in/The_Seventh_Seal?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_47306040" data-work_id="47306040" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/47306040/Book_Review_Jayson_Beaster_Jones_and_Natalie_Sarrazin_Eds_Music_in_Contemporary_Indian_Film_Memory_Voice_Identity">Book Review: Jayson Beaster-Jones and Natalie Sarrazin (Eds), Music in Contemporary Indian Film: Memory, Voice, Identity</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/47306040" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="00d2c433133874d1103896ad9664cb31" rel="nofollow" data-download="{"attachment_id":66459872,"asset_id":47306040,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66459872/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3443039" href="https://michiganstate.academia.edu/KuhuTanvir">Kuhu Tanvir</a><script data-card-contents-for-user="3443039" 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Studies, South Asia, Media</a><script data-card-contents-for-ri="170908" type="text/json">{"id":170908,"name":"Indian Cinema, Bollywood, Film Studies, South Asia, Media","url":"https://www.academia.edu/Documents/in/Indian_Cinema_Bollywood_Film_Studies_South_Asia_Media?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=47306040]'), work: {"id":47306040,"title":"Book Review: Jayson Beaster-Jones and Natalie Sarrazin (Eds), Music in Contemporary Indian Film: Memory, Voice, Identity","created_at":"2021-04-21T11:46:34.612-07:00","url":"https://www.academia.edu/47306040/Book_Review_Jayson_Beaster_Jones_and_Natalie_Sarrazin_Eds_Music_in_Contemporary_Indian_Film_Memory_Voice_Identity?f_ri=2601","dom_id":"work_47306040","summary":null,"downloadable_attachments":[{"id":66459872,"asset_id":47306040,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3443039,"first_name":"Kuhu","last_name":"Tanvir","domain_name":"michiganstate","page_name":"KuhuTanvir","display_name":"Kuhu Tanvir","profile_url":"https://michiganstate.academia.edu/KuhuTanvir?f_ri=2601","photo":"https://0.academia-photos.com/3443039/159883960/149561588/s65_kuhu.tanvir.png"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":170908,"name":"Indian Cinema, Bollywood, Film Studies, South Asia, Media","url":"https://www.academia.edu/Documents/in/Indian_Cinema_Bollywood_Film_Studies_South_Asia_Media?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44976929" data-work_id="44976929" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44976929/The_Ambivalent_Erotics_of_Hot_Pants_Peter_de_Rome_and_the_Soundtrack_of_Liberation">The Ambivalent Erotics of Hot Pants : Peter de Rome and the Soundtrack of Liberation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article considers the creation and circulation Peter De Rome 1971 pornographic short film Hot Pants and its use of James Brown’s then recently released track of the same name. De Rome’s film drew from footage of his own sexual and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44976929" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article considers the creation and circulation Peter De Rome 1971 pornographic short film Hot Pants and its use of James Brown’s then recently released track of the same name. De Rome’s film drew from footage of his own sexual and social relationships with black men and were scored with records he had in his own apartment, demonstrating the potential of erotics to create bonds across dominant racial, gendered, and sexual boundaries. In this way, I argue that the film and it soundtrack captures intersectional tensions that emerge from his everyday sexual ethics, presenting what Kobena Mercer calls “the ambivalence of the identifications we actually inhabit in living with difference.”  By exploring the simultaneously liberatory and oppressive power dynamics enabled by the visual design and soundtrack of Hot Pants, I argue that this ambivalence does not lead to a political aloofness on behalf of viewers but instead begs critical interrogation of how de Rome’s specific location and historical moment shape the film’s erotics and how these compare with contemporary sensibilities and political projects. Key to this comparison is the way that James Brown’s song functions as a soundtrack for both de Rome’s individual erotic encounter and the larger moment of gay and black liberation. Thus my consideration of Hot Pants moves beyond an evaluation of a strictly good or bad representation of black male sexuality or of interracial erotics to question what contemporary audiences can learn about the circulation of racialized power through the film’s connection of image and sound with erotic pleasure. While I maintain that Hot Pants produces an erotics that is ambivalent to the specific demands of equality by black and gay liberation, I assert it is an ambivalence that is critically productive, just as much titillating as it is pedagogical.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44976929" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4787f810bb3c6cced4627ca7c0bbb74d" rel="nofollow" data-download="{"attachment_id":65514347,"asset_id":44976929,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65514347/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="183665441" href="https://conncoll.academia.edu/KyleKaplan">Kyle C Kaplan</a><script data-card-contents-for-user="183665441" type="text/json">{"id":183665441,"first_name":"Kyle","last_name":"Kaplan","domain_name":"conncoll","page_name":"KyleKaplan","display_name":"Kyle C Kaplan","profile_url":"https://conncoll.academia.edu/KyleKaplan?f_ri=2601","photo":"https://0.academia-photos.com/183665441/50955399/153872625/s65_kyle.kaplan.jpg"}</script></span></span></li><li class="js-paper-rank-work_44976929 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44976929"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44976929, container: ".js-paper-rank-work_44976929", }); 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$(".js-view-count[data-work-id=44976929]").text(description); $(".js-view-count-work_44976929").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44976929").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44976929"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="699" href="https://www.academia.edu/Documents/in/Queer_Studies">Queer Studies</a>, <script data-card-contents-for-ri="699" type="text/json">{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5247" href="https://www.academia.edu/Documents/in/Critical_Race_Theory">Critical Race Theory</a><script data-card-contents-for-ri="5247" type="text/json">{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44976929]'), work: {"id":44976929,"title":"The Ambivalent Erotics of Hot Pants : Peter de Rome and the Soundtrack of Liberation","created_at":"2021-01-25T15:47:55.275-08:00","url":"https://www.academia.edu/44976929/The_Ambivalent_Erotics_of_Hot_Pants_Peter_de_Rome_and_the_Soundtrack_of_Liberation?f_ri=2601","dom_id":"work_44976929","summary":"This article considers the creation and circulation Peter De Rome 1971 pornographic short film Hot Pants and its use of James Brown’s then recently released track of the same name. De Rome’s film drew from footage of his own sexual and social relationships with black men and were scored with records he had in his own apartment, demonstrating the potential of erotics to create bonds across dominant racial, gendered, and sexual boundaries. In this way, I argue that the film and it soundtrack captures intersectional tensions that emerge from his everyday sexual ethics, presenting what Kobena Mercer calls “the ambivalence of the identifications we actually inhabit in living with difference.” By exploring the simultaneously liberatory and oppressive power dynamics enabled by the visual design and soundtrack of Hot Pants, I argue that this ambivalence does not lead to a political aloofness on behalf of viewers but instead begs critical interrogation of how de Rome’s specific location and historical moment shape the film’s erotics and how these compare with contemporary sensibilities and political projects. Key to this comparison is the way that James Brown’s song functions as a soundtrack for both de Rome’s individual erotic encounter and the larger moment of gay and black liberation. Thus my consideration of Hot Pants moves beyond an evaluation of a strictly good or bad representation of black male sexuality or of interracial erotics to question what contemporary audiences can learn about the circulation of racialized power through the film’s connection of image and sound with erotic pleasure. While I maintain that Hot Pants produces an erotics that is ambivalent to the specific demands of equality by black and gay liberation, I assert it is an ambivalence that is critically productive, just as much titillating as it is pedagogical.","downloadable_attachments":[{"id":65514347,"asset_id":44976929,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":183665441,"first_name":"Kyle","last_name":"Kaplan","domain_name":"conncoll","page_name":"KyleKaplan","display_name":"Kyle C Kaplan","profile_url":"https://conncoll.academia.edu/KyleKaplan?f_ri=2601","photo":"https://0.academia-photos.com/183665441/50955399/153872625/s65_kyle.kaplan.jpg"}],"research_interests":[{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies?f_ri=2601","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=2601","nofollow":false},{"id":38576,"name":"Pornography Studies","url":"https://www.academia.edu/Documents/in/Pornography_Studies?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38995081" data-work_id="38995081" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38995081/The_Sound_of_Amateur_Film_Abstract_">The Sound of Amateur Film [Abstract]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay examines why amateur filmmakers did not adopt sound despite the apparent desire for it mentioned in the pages of Movie Makers and other forums. The failure of the RCA-Victor camera provides a focal point from which to examine... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38995081" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay examines why amateur filmmakers did not adopt sound despite the apparent desire for it mentioned in the pages of Movie Makers and other forums. The failure of the RCA-Victor camera provides a focal point from which to examine the history of amateur film sound and how this short-lived camera mirrors and anticipates many of the problems that would unceasingly thwart attempts to bring sound to amateur film practice. To begin recovering the history of amateur sound production, I concentrate on how one amateur filmmaker, Archie Stewart, eagerly took up sound filmmaking (with the RCA-Victor camera) only to abandon it a few short years later. Stewart's amateur sound films of the 1930s are illustrative of the kinds of frustrations and limitations a keen and committed amateur filmmaker encountered.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38995081" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="50a14c9141f20b0a235d8e54cdc2c1e9" rel="nofollow" data-download="{"attachment_id":59101982,"asset_id":38995081,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59101982/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4072933" href="https://ualberta.academia.edu/LizCzach">Liz Czach</a><script data-card-contents-for-user="4072933" type="text/json">{"id":4072933,"first_name":"Liz","last_name":"Czach","domain_name":"ualberta","page_name":"LizCzach","display_name":"Liz Czach","profile_url":"https://ualberta.academia.edu/LizCzach?f_ri=2601","photo":"https://0.academia-photos.com/4072933/1563570/1894979/s65_liz.czach.jpg"}</script></span></span></li><li class="js-paper-rank-work_38995081 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38995081"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38995081, container: ".js-paper-rank-work_38995081", }); });</script></li><li class="js-percentile-work_38995081 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38995081; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38995081"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38995081 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38995081"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38995081; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38995081]").text(description); $(".js-view-count-work_38995081").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38995081").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38995081"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="44864" href="https://www.academia.edu/Documents/in/Home_movies">Home movies</a>, <script data-card-contents-for-ri="44864" type="text/json">{"id":44864,"name":"Home movies","url":"https://www.academia.edu/Documents/in/Home_movies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="79532" href="https://www.academia.edu/Documents/in/Amateur_Film">Amateur Film</a><script data-card-contents-for-ri="79532" type="text/json">{"id":79532,"name":"Amateur Film","url":"https://www.academia.edu/Documents/in/Amateur_Film?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38995081]'), work: {"id":38995081,"title":"The Sound of Amateur Film [Abstract]","created_at":"2019-05-01T10:51:55.227-07:00","url":"https://www.academia.edu/38995081/The_Sound_of_Amateur_Film_Abstract_?f_ri=2601","dom_id":"work_38995081","summary":"This essay examines why amateur filmmakers did not adopt sound despite the apparent desire for it mentioned in the pages of Movie Makers and other forums. The failure of the RCA-Victor camera provides a focal point from which to examine the history of amateur film sound and how this short-lived camera mirrors and anticipates many of the problems that would unceasingly thwart attempts to bring sound to amateur film practice. To begin recovering the history of amateur sound production, I concentrate on how one amateur filmmaker, Archie Stewart, eagerly took up sound filmmaking (with the RCA-Victor camera) only to abandon it a few short years later. Stewart's amateur sound films of the 1930s are illustrative of the kinds of frustrations and limitations a keen and committed amateur filmmaker encountered.","downloadable_attachments":[{"id":59101982,"asset_id":38995081,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4072933,"first_name":"Liz","last_name":"Czach","domain_name":"ualberta","page_name":"LizCzach","display_name":"Liz Czach","profile_url":"https://ualberta.academia.edu/LizCzach?f_ri=2601","photo":"https://0.academia-photos.com/4072933/1563570/1894979/s65_liz.czach.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":44864,"name":"Home movies","url":"https://www.academia.edu/Documents/in/Home_movies?f_ri=2601","nofollow":false},{"id":79532,"name":"Amateur Film","url":"https://www.academia.edu/Documents/in/Amateur_Film?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38683510" data-work_id="38683510" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38683510/The_Multiform_Identity_of_Jazz_in_Hollywood_An_Assessment_through_the_John_Williams_Case_Study">The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">John Williams is best known for such large-scale symphonic works as Star Wars, Superman, the Indiana Jones series and the like. Yet, his musical roots are also (and strongly) in jazz. In his formative years he had the opportunity to be in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38683510" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">John Williams is best known for such large-scale symphonic works as Star Wars, Superman, the Indiana Jones series and the like. Yet, his musical roots are also (and strongly) in jazz. In his formative years he had the opportunity to be in touch with some of the finest performers. In the 1950s, while studying ‘legitimate’ piano music at the Juilliard School in New York, he tickled the ivories in the city’s jazz clubs. In the early 1960s, while working in Hollywood as a pianist and an orchestrator, he arranged albums for Mahalia Jackson and Vic Damone. When Williams firmly established himself as a film composer the mid-1960s, he brought in his jazz background as a perhaps less noticeable but yet fundamental component of his style. After a quick introduction about the relation between cinema and jazz in Hollywood history in order to contextualise Williams’s film career, the chapter focusses on the Williams film scores in which jazz episodes emerge from beneath the otherwise symphonic texture — for example, ‘Cantina Band’ in Star Wars (1977), ‘Swing, Swing, Swing’ in 1941 (1979), ‘The Knight Bus’ in Harry Potter and the Prisoner of Azkaban (2004) — and on film scores in which jazz is central to the film’s narrative: for example, Catch Me if You Can (2002) and The Terminal (2004).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38683510" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1427713" href="https://linnaeus.academia.edu/EmilioAudissino">Emilio Audissino</a><script data-card-contents-for-user="1427713" type="text/json">{"id":1427713,"first_name":"Emilio","last_name":"Audissino","domain_name":"linnaeus","page_name":"EmilioAudissino","display_name":"Emilio Audissino","profile_url":"https://linnaeus.academia.edu/EmilioAudissino?f_ri=2601","photo":"https://0.academia-photos.com/1427713/513866/31670376/s65_emilio.audissino.jpg"}</script></span></span></li><li class="js-paper-rank-work_38683510 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38683510"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38683510, container: ".js-paper-rank-work_38683510", }); 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$(".js-view-count[data-work-id=38683510]").text(description); $(".js-view-count-work_38683510").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38683510").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38683510"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" href="https://www.academia.edu/Documents/in/Film_History">Film History</a>, <script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17223" href="https://www.academia.edu/Documents/in/Jazz_Studies">Jazz Studies</a>, <script data-card-contents-for-ri="17223" type="text/json">{"id":17223,"name":"Jazz Studies","url":"https://www.academia.edu/Documents/in/Jazz_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="47199" href="https://www.academia.edu/Documents/in/Hollywood">Hollywood</a><script data-card-contents-for-ri="47199" type="text/json">{"id":47199,"name":"Hollywood","url":"https://www.academia.edu/Documents/in/Hollywood?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38683510]'), work: {"id":38683510,"title":"The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study","created_at":"2019-04-01T07:19:02.083-07:00","url":"https://www.academia.edu/38683510/The_Multiform_Identity_of_Jazz_in_Hollywood_An_Assessment_through_the_John_Williams_Case_Study?f_ri=2601","dom_id":"work_38683510","summary":"John Williams is best known for such large-scale symphonic works as Star Wars, Superman, the Indiana Jones series and the like. Yet, his musical roots are also (and strongly) in jazz. In his formative years he had the opportunity to be in touch with some of the finest performers. In the 1950s, while studying ‘legitimate’ piano music at the Juilliard School in New York, he tickled the ivories in the city’s jazz clubs. In the early 1960s, while working in Hollywood as a pianist and an orchestrator, he arranged albums for Mahalia Jackson and Vic Damone. When Williams firmly established himself as a film composer the mid-1960s, he brought in his jazz background as a perhaps less noticeable but yet fundamental component of his style. After a quick introduction about the relation between cinema and jazz in Hollywood history in order to contextualise Williams’s film career, the chapter focusses on the Williams film scores in which jazz episodes emerge from beneath the otherwise symphonic texture — for example, ‘Cantina Band’ in Star Wars (1977), ‘Swing, Swing, Swing’ in 1941 (1979), ‘The Knight Bus’ in Harry Potter and the Prisoner of Azkaban (2004) — and on film scores in which jazz is central to the film’s narrative: for example, Catch Me if You Can (2002) and The Terminal (2004).","downloadable_attachments":[],"ordered_authors":[{"id":1427713,"first_name":"Emilio","last_name":"Audissino","domain_name":"linnaeus","page_name":"EmilioAudissino","display_name":"Emilio Audissino","profile_url":"https://linnaeus.academia.edu/EmilioAudissino?f_ri=2601","photo":"https://0.academia-photos.com/1427713/513866/31670376/s65_emilio.audissino.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=2601","nofollow":false},{"id":17223,"name":"Jazz Studies","url":"https://www.academia.edu/Documents/in/Jazz_Studies?f_ri=2601","nofollow":false},{"id":47199,"name":"Hollywood","url":"https://www.academia.edu/Documents/in/Hollywood?f_ri=2601","nofollow":false},{"id":285100,"name":"John Williams","url":"https://www.academia.edu/Documents/in/John_Williams?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9793412" data-work_id="9793412" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9793412/Bild_und_Interface_Zur_sinnlichen_Wahrnehmung_digitaler_Visualit%C3%A4t">Bild und Interface. Zur sinnlichen Wahrnehmung digitaler Visualität</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9793412" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9793412" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="803675190d2eb57ea5d457b94c72e3be" rel="nofollow" data-download="{"attachment_id":35967937,"asset_id":9793412,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35967937/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13079251" href="https://fh-muenster.academia.edu/LarsChristianGrabbe">Lars Christian Grabbe</a><script data-card-contents-for-user="13079251" type="text/json">{"id":13079251,"first_name":"Lars Christian","last_name":"Grabbe","domain_name":"fh-muenster","page_name":"LarsChristianGrabbe","display_name":"Lars Christian Grabbe","profile_url":"https://fh-muenster.academia.edu/LarsChristianGrabbe?f_ri=2601","photo":"https://0.academia-photos.com/13079251/3689520/160555875/s65_lars_christian.grabbe.jpeg"}</script></span></span></li><li class="js-paper-rank-work_9793412 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9793412"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9793412, container: ".js-paper-rank-work_9793412", }); 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Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. 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href="https://www.academia.edu/43539246/_Every_Gun_Makes_Its_Own_Tune_Ennio_Morricones_Ger%C3%A4uschmusik_Kapitalverwertung_und_Erinnerung_im_Italowestern_1999_">"Every Gun Makes Its Own Tune": Ennio Morricones Geräuschmusik, Kapitalverwertung und Erinnerung im Italowestern [1999]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">in: Studienkreis Film (Hg.): Um sie weht der Hauch des Todes.Der Italowestern-die Geschichte eines Genres. Bochum: Schnitt Verlag 1999 (basierend auf einem Beitrag zu Meteor 15, 1999, Dossier "Sound Design")</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43539246" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6ddd4927c305e39bc4b7156e80622bcb" rel="nofollow" data-download="{"attachment_id":63850979,"asset_id":43539246,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63850979/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="21068055" href="https://independent.academia.edu/DrehliRobnik">Drehli Robnik</a><script data-card-contents-for-user="21068055" type="text/json">{"id":21068055,"first_name":"Drehli","last_name":"Robnik","domain_name":"independent","page_name":"DrehliRobnik","display_name":"Drehli Robnik","profile_url":"https://independent.academia.edu/DrehliRobnik?f_ri=2601","photo":"https://0.academia-photos.com/21068055/6416195/7257681/s65_drehli.robnik.jpg"}</script></span></span></li><li class="js-paper-rank-work_43539246 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43539246"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43539246, container: ".js-paper-rank-work_43539246", }); 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The starting point comes from the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38322314" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The essay investigates the usefulness for semiotic disciplines of comparing its heuristic results with those of the scientific and experimental disciplines, without exceeding its theoretical limits. The starting point comes from the affirmation of U. Eco about the opportunity for semiologists to “do not poke their noses into the black box of mind or brain processes”. As a boundary matter on which semiotics is confronted with other disciplines, is then examined the issue of perception, particularly the auditory one, taking into account some explanatory models proposed around cognitive psychology and neuroscience. Specifically, a brief analysis of the problems related to the perceptual recognition of sound is performed, compared to the visual, focusing the attention, also through textual examples, on the role of sound in the audiovisual language. Among auditory perception description models, here are mentioned the “Auditory Scene Analysis” by A. Bregman, and theories related to the “auditory object”, highlighting similarities and divergences with respect to how Eco considers the problem of perception. <br />Il saggio indaga l’utilità per le discipline semiotiche di porre a confronto i propri risultati euristici con quelli delle discipline scientifiche e sperimentali, senza oltrepassare i propri limiti teorici. Lo spunto iniziale parte dall’affermazione di U. Eco sull’opportunità per i semiologi di “non mettere il naso nella scatola nera dei processi mentali o cerebrali”. Come materia di confine sulla quale la semiotica si confronta con altre discipline viene quindi affrontato il tema della percezione, in particolare quella uditiva, passando in rassegna alcuni modelli esplicativi proposti nell’ambito della psicologia cognitiva e delle neuroscienze. Nello specifico, viene compiuta una breve ricognizione dei problemi relativi al riconoscimento percettivo del suono, comparati al campo visivo, focalizzando l’attenzione, anche attraverso esempi testuali, sul ruolo del suono nel linguaggio audiovisivo. Tra i modelli di descrizione della percezione uditiva vengono menzionati la “Auditory Scene Analysis” di A. Bregman e le teorie relative all’ “oggetto uditivo”, evidenziando analogie e divergenze rispetto alla trattazione del problema della percezione per come viene operato da Eco.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38322314" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1afdb016fccc42fe30933f74f4023f7a" rel="nofollow" data-download="{"attachment_id":58372091,"asset_id":38322314,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58372091/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="440799" href="https://unibo.academia.edu/LucioSpaziante">Lucio Spaziante</a><script data-card-contents-for-user="440799" type="text/json">{"id":440799,"first_name":"Lucio","last_name":"Spaziante","domain_name":"unibo","page_name":"LucioSpaziante","display_name":"Lucio Spaziante","profile_url":"https://unibo.academia.edu/LucioSpaziante?f_ri=2601","photo":"https://0.academia-photos.com/440799/189425/220873/s65_lucio.spaziante.jpg"}</script></span></span></li><li class="js-paper-rank-work_38322314 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38322314"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38322314, container: ".js-paper-rank-work_38322314", }); 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$(".js-view-count[data-work-id=38322314]").text(description); $(".js-view-count-work_38322314").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38322314").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38322314"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="867" href="https://www.academia.edu/Documents/in/Perception">Perception</a>, <script data-card-contents-for-ri="867" type="text/json">{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3031" href="https://www.academia.edu/Documents/in/Auditory_Perception">Auditory Perception</a><script data-card-contents-for-ri="3031" type="text/json">{"id":3031,"name":"Auditory Perception","url":"https://www.academia.edu/Documents/in/Auditory_Perception?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38322314]'), work: {"id":38322314,"title":"Sound box: la scatola nera della percezione sonora e i limiti metodologici della semiotica","created_at":"2019-02-10T08:38:30.592-08:00","url":"https://www.academia.edu/38322314/Sound_box_la_scatola_nera_della_percezione_sonora_e_i_limiti_metodologici_della_semiotica?f_ri=2601","dom_id":"work_38322314","summary":"The essay investigates the usefulness for semiotic disciplines of comparing its heuristic results with those of the scientific and experimental disciplines, without exceeding its theoretical limits. The starting point comes from the affirmation of U. Eco about the opportunity for semiologists to “do not poke their noses into the black box of mind or brain processes”. As a boundary matter on which semiotics is confronted with other disciplines, is then examined the issue of perception, particularly the auditory one, taking into account some explanatory models proposed around cognitive psychology and neuroscience. Specifically, a brief analysis of the problems related to the perceptual recognition of sound is performed, compared to the visual, focusing the attention, also through textual examples, on the role of sound in the audiovisual language. Among auditory perception description models, here are mentioned the “Auditory Scene Analysis” by A. Bregman, and theories related to the “auditory object”, highlighting similarities and divergences with respect to how Eco considers the problem of perception. \nIl saggio indaga l’utilità per le discipline semiotiche di porre a confronto i propri risultati euristici con quelli delle discipline scientifiche e sperimentali, senza oltrepassare i propri limiti teorici. Lo spunto iniziale parte dall’affermazione di U. Eco sull’opportunità per i semiologi di “non mettere il naso nella scatola nera dei processi mentali o cerebrali”. Come materia di confine sulla quale la semiotica si confronta con altre discipline viene quindi affrontato il tema della percezione, in particolare quella uditiva, passando in rassegna alcuni modelli esplicativi proposti nell’ambito della psicologia cognitiva e delle neuroscienze. Nello specifico, viene compiuta una breve ricognizione dei problemi relativi al riconoscimento percettivo del suono, comparati al campo visivo, focalizzando l’attenzione, anche attraverso esempi testuali, sul ruolo del suono nel linguaggio audiovisivo. Tra i modelli di descrizione della percezione uditiva vengono menzionati la “Auditory Scene Analysis” di A. Bregman e le teorie relative all’ “oggetto uditivo”, evidenziando analogie e divergenze rispetto alla trattazione del problema della percezione per come viene operato da Eco. ","downloadable_attachments":[{"id":58372091,"asset_id":38322314,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":440799,"first_name":"Lucio","last_name":"Spaziante","domain_name":"unibo","page_name":"LucioSpaziante","display_name":"Lucio Spaziante","profile_url":"https://unibo.academia.edu/LucioSpaziante?f_ri=2601","photo":"https://0.academia-photos.com/440799/189425/220873/s65_lucio.spaziante.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2601","nofollow":false},{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3031,"name":"Auditory Perception","url":"https://www.academia.edu/Documents/in/Auditory_Perception?f_ri=2601","nofollow":false},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=2601"},{"id":83703,"name":"Audiovisual","url":"https://www.academia.edu/Documents/in/Audiovisual?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4700124" data-work_id="4700124" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4700124/The_Rhythm_of_Death_How_Diegetic_Music_is_Used_in_The_Last_Stage">The Rhythm of Death: How Diegetic Music is Used in 'The Last Stage'</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4700124" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7496984720c3e64f35ac0c462e7478e4" rel="nofollow" data-download="{"attachment_id":32030275,"asset_id":4700124,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32030275/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5640345" href="https://westernu.academia.edu/LauraConning">Laura Conning</a><script data-card-contents-for-user="5640345" type="text/json">{"id":5640345,"first_name":"Laura","last_name":"Conning","domain_name":"westernu","page_name":"LauraConning","display_name":"Laura Conning","profile_url":"https://westernu.academia.edu/LauraConning?f_ri=2601","photo":"https://0.academia-photos.com/5640345/2455615/3873200/s65_laura.conning.jpg"}</script></span></span></li><li class="js-paper-rank-work_4700124 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4700124"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4700124, container: ".js-paper-rank-work_4700124", }); 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This essay explores both the textual... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_76671958" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper posits that the contemporary (re)configuration of the generic white woman of Hindi cinema solely as a spectacle was produced by the nationalist discourse during the colonial encounter. This essay explores both the textual analyses and aesthetic strategies employed in the construction of national imagery of white female subjectivities. My approach is twofold: (i) to chart the historical specificities of the representational construct of the white woman through discontinuous changes occurring across Bombay cinema, and (ii) to explore the white female subjectivities across specific historical and cultural milieu. This paper probes the historicity of the ‘Otherness’ of the white woman in Hindi cinema reviews and re-examines how Hindi cinema constitutes female whiteness. I posit that the representation of the white woman in Hindi cinema as promiscuous and sexually available was constructed within the nationalist discourse of the colonial era and is a continuation of the white memsahib in her absence. It is my position that all that was ‘repressed’ in the Hindu woman resurfaces in the white woman – the racial, sexual ‘Other’, onto whom everything repressed within the self could be projected.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/76671958" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="168502" href="https://manuu.academia.edu/MerajMubarki">Meraj A H M E D Mubarki</a><script data-card-contents-for-user="168502" type="text/json">{"id":168502,"first_name":"Meraj","last_name":"Mubarki","domain_name":"manuu","page_name":"MerajMubarki","display_name":"Meraj A H M E D Mubarki","profile_url":"https://manuu.academia.edu/MerajMubarki?f_ri=2601","photo":"https://0.academia-photos.com/168502/2875266/90859664/s65_meraj.mubarki.jpg"}</script></span></span></li><li class="js-paper-rank-work_76671958 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="76671958"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 76671958, container: ".js-paper-rank-work_76671958", }); 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It is my position that all that was ‘repressed’ in the Hindu woman resurfaces in the white woman – the racial, sexual ‘Other’, onto whom everything repressed within the self could be projected.","downloadable_attachments":[],"ordered_authors":[{"id":168502,"first_name":"Meraj","last_name":"Mubarki","domain_name":"manuu","page_name":"MerajMubarki","display_name":"Meraj A H M E D Mubarki","profile_url":"https://manuu.academia.edu/MerajMubarki?f_ri=2601","photo":"https://0.academia-photos.com/168502/2875266/90859664/s65_meraj.mubarki.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=2601","nofollow":false},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=2601","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601"},{"id":4195,"name":"Cultural Theory","url":"https://www.academia.edu/Documents/in/Cultural_Theory?f_ri=2601"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=2601"},{"id":7490,"name":"Gender Equality","url":"https://www.academia.edu/Documents/in/Gender_Equality?f_ri=2601"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=2601"},{"id":14998,"name":"Gender and Sexuality Studies","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality_Studies?f_ri=2601"},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=2601"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=2601"},{"id":23342,"name":"Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Cultural_Anthropology?f_ri=2601"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=2601"},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=2601"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=2601"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=2601"},{"id":80095,"name":"Gaze","url":"https://www.academia.edu/Documents/in/Gaze?f_ri=2601"},{"id":121601,"name":"Cross cultural studies","url":"https://www.academia.edu/Documents/in/Cross_cultural_studies?f_ri=2601"},{"id":681202,"name":"Contemporary South Asia","url":"https://www.academia.edu/Documents/in/Contemporary_South_Asia?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35078962" data-work_id="35078962" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35078962/Michel_Chion_Un_art_sonore_le_cin%C3%A9ma_Paris_Cahiers_du_cin%C3%A9ma_2003">Michel Chion, Un art sonore, le cinéma, Paris, Cahiers du cinéma, 2003</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Perception et média, cinéma et théorie, sémiotique et poétiques... Le point, à partir de M. Chion.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35078962" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="03efb301c01f7cd7b70044af5c0fc080" rel="nofollow" data-download="{"attachment_id":54939668,"asset_id":35078962,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54939668/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="757678" href="https://uni-lu.academia.edu/GianMariaTore">Gian Maria Tore</a><script data-card-contents-for-user="757678" type="text/json">{"id":757678,"first_name":"Gian Maria","last_name":"Tore","domain_name":"uni-lu","page_name":"GianMariaTore","display_name":"Gian Maria Tore","profile_url":"https://uni-lu.academia.edu/GianMariaTore?f_ri=2601","photo":"https://0.academia-photos.com/757678/17718250/17753354/s65_gian_maria.tore.jpg"}</script></span></span></li><li class="js-paper-rank-work_35078962 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35078962"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35078962, container: ".js-paper-rank-work_35078962", }); 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Ed by Deborah Mawer (review)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Tempo 216 (April 2001), 46-47</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16504834" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e456856fdc18e03c672b57e64eb5e1ce" rel="nofollow" data-download="{"attachment_id":51597810,"asset_id":16504834,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51597810/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="835525" href="https://ram.academia.edu/AnthonyGritten">Anthony Gritten</a><script data-card-contents-for-user="835525" type="text/json">{"id":835525,"first_name":"Anthony","last_name":"Gritten","domain_name":"ram","page_name":"AnthonyGritten","display_name":"Anthony Gritten","profile_url":"https://ram.academia.edu/AnthonyGritten?f_ri=2601","photo":"https://0.academia-photos.com/835525/293196/35673330/s65_anthony.gritten.jpg"}</script></span></span></li><li class="js-paper-rank-work_16504834 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16504834"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16504834, container: ".js-paper-rank-work_16504834", }); 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Zu Naturbezügen im Schaffen Olga Neuwirths</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Im Schaffen Olga Neuwirths lassen sich mehrere Begriffsfelder entdecken, die im weitesten Sinne als Naturbezüge begreifbar sind und sich aufgrund ihrer über Jahre hinweg reichenden Beständigkeit zu werkinternen Referenzsystemen... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6165507" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Im Schaffen Olga Neuwirths lassen sich mehrere Begriffsfelder entdecken, die im weitesten Sinne als Naturbezüge begreifbar sind und sich aufgrund ihrer über Jahre hinweg reichenden Beständigkeit zu werkinternen Referenzsystemen ausgeweitet haben. Zwei dieser von vielschichtigen kulturgeschichtlichen Diskursen durchdrungenen Begriffsfelder – nämlich Schnee/Eis auf der einen und Meer auf der anderen Seite – stehen im Mittelpunkt des Aufsatzes, der anhand ausgewählter Beispiele skizziert, wie damit verknüpfte Naturbezüge beschaffen sind und welche werkspezifischen Ausprägungen sie erfahren. Dabei dient das jeweils bezeichnete Phänomen vorrangig als Metapher, mit deren Hilfe die Komponistin, ausgehend von konkreten musikalischen und visuellen Gestaltungsmitteln, auf bestimmte außermusikalische Zusammenhänge verweisen kann. Die Natur wird damit als Quelle eines Systems von Referenzen begriffen, das jenseits des in Klang und Bild Fixierten einen Schlüssel zum Verständnis ästhetischer Entscheidungen und kompositorischer Strategien liefern und demzufolge ein tieferes Verständnis von Neuwirths Kunst ermöglichen kann. Dem Bezug auf das solchermaßen konstituierte Symbolsystem wächst durch das Zusammenwirken von persönlicher musikalischer Sprache und szenischen oder filmischen Kontexten eine polyvalente semiotische Funktion zu, die auch im Rahmen anderer Werke wieder aufgegriffen wird und im Prozess dieser Weiterverwendung durch neue Aspekte Bereicherungen und jeweils werkspezifische Ausprägungen erfährt.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6165507" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8c1766776e0df7898de0d47d9cf0ce4f" rel="nofollow" data-download="{"attachment_id":35989132,"asset_id":6165507,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35989132/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="27423" href="https://hfm-berlin.academia.edu/StefanDrees">Stefan Drees</a><script data-card-contents-for-user="27423" type="text/json">{"id":27423,"first_name":"Stefan","last_name":"Drees","domain_name":"hfm-berlin","page_name":"StefanDrees","display_name":"Stefan Drees","profile_url":"https://hfm-berlin.academia.edu/StefanDrees?f_ri=2601","photo":"https://0.academia-photos.com/27423/8956/41474201/s65_stefan.drees.jpg"}</script></span></span></li><li class="js-paper-rank-work_6165507 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6165507"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6165507, container: ".js-paper-rank-work_6165507", }); 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$(".js-view-count[data-work-id=6165507]").text(description); $(".js-view-count-work_6165507").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6165507").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6165507"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6559" href="https://www.academia.edu/Documents/in/Music_and_Media">Music and Media</a>, <script data-card-contents-for-ri="6559" type="text/json">{"id":6559,"name":"Music and Media","url":"https://www.academia.edu/Documents/in/Music_and_Media?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17546" href="https://www.academia.edu/Documents/in/Contemporary_Music">Contemporary Music</a><script data-card-contents-for-ri="17546" type="text/json">{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6165507]'), work: {"id":6165507,"title":"Zwischen Metapher und Utopie. Zu Naturbezügen im Schaffen Olga Neuwirths","created_at":"2014-02-21T20:36:29.451-08:00","url":"https://www.academia.edu/6165507/Zwischen_Metapher_und_Utopie_Zu_Naturbez%C3%BCgen_im_Schaffen_Olga_Neuwirths?f_ri=2601","dom_id":"work_6165507","summary":"Im Schaffen Olga Neuwirths lassen sich mehrere Begriffsfelder entdecken, die im weitesten Sinne als Naturbezüge begreifbar sind und sich aufgrund ihrer über Jahre hinweg reichenden Beständigkeit zu werkinternen Referenzsystemen ausgeweitet haben. Zwei dieser von vielschichtigen kulturgeschichtlichen Diskursen durchdrungenen Begriffsfelder – nämlich Schnee/Eis auf der einen und Meer auf der anderen Seite – stehen im Mittelpunkt des Aufsatzes, der anhand ausgewählter Beispiele skizziert, wie damit verknüpfte Naturbezüge beschaffen sind und welche werkspezifischen Ausprägungen sie erfahren. Dabei dient das jeweils bezeichnete Phänomen vorrangig als Metapher, mit deren Hilfe die Komponistin, ausgehend von konkreten musikalischen und visuellen Gestaltungsmitteln, auf bestimmte außermusikalische Zusammenhänge verweisen kann. Die Natur wird damit als Quelle eines Systems von Referenzen begriffen, das jenseits des in Klang und Bild Fixierten einen Schlüssel zum Verständnis ästhetischer Entscheidungen und kompositorischer Strategien liefern und demzufolge ein tieferes Verständnis von Neuwirths Kunst ermöglichen kann. Dem Bezug auf das solchermaßen konstituierte Symbolsystem wächst durch das Zusammenwirken von persönlicher musikalischer Sprache und szenischen oder filmischen Kontexten eine polyvalente semiotische Funktion zu, die auch im Rahmen anderer Werke wieder aufgegriffen wird und im Prozess dieser Weiterverwendung durch neue Aspekte Bereicherungen und jeweils werkspezifische Ausprägungen erfährt.","downloadable_attachments":[{"id":35989132,"asset_id":6165507,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":27423,"first_name":"Stefan","last_name":"Drees","domain_name":"hfm-berlin","page_name":"StefanDrees","display_name":"Stefan Drees","profile_url":"https://hfm-berlin.academia.edu/StefanDrees?f_ri=2601","photo":"https://0.academia-photos.com/27423/8956/41474201/s65_stefan.drees.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":6559,"name":"Music and Media","url":"https://www.academia.edu/Documents/in/Music_and_Media?f_ri=2601","nofollow":false},{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=2601","nofollow":false},{"id":1393230,"name":"Olga Neuwirth","url":"https://www.academia.edu/Documents/in/Olga_Neuwirth?f_ri=2601"},{"id":1758867,"name":"Female Composers","url":"https://www.academia.edu/Documents/in/Female_Composers?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38007942" data-work_id="38007942" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38007942/Sentire_la_paura_La_casa_e_il_suo_remake">Sentire la paura: "La casa" e il suo remake</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">[Hearing fear, feeling fear: "The Evil Dead" and its remake.] Through the comparative analysis of the film The Evil Dead (1981) and its remake Evil Dead (2013), this article aims at demonstrating that sound in horror films has a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38007942" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">[Hearing fear, feeling fear: "The Evil Dead" and its remake.] <br />Through the comparative analysis of the film The Evil Dead (1981) and its remake Evil Dead (2013), this article aims at demonstrating that sound in horror films has a substantial role in eliciting fear in the perceiver, by prompting both primordial responses and higher-order inferences. I examine the biological bases that favor the fearfulness of the genre’s typical acoustical elements, such as the use of very low and very high frequencies, of strong dynamic contrasts, of crude timbres, of noisiness, and – as regards the second film – of an aggressive surround sound spatialization.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38007942" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="39b83ebb4828e54d8be7a306be3e95e1" rel="nofollow" data-download="{"attachment_id":58027871,"asset_id":38007942,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58027871/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12323531" href="https://uniroma1.academia.edu/ValerioSbravatti">Valerio Sbravatti</a><script data-card-contents-for-user="12323531" type="text/json">{"id":12323531,"first_name":"Valerio","last_name":"Sbravatti","domain_name":"uniroma1","page_name":"ValerioSbravatti","display_name":"Valerio Sbravatti","profile_url":"https://uniroma1.academia.edu/ValerioSbravatti?f_ri=2601","photo":"https://0.academia-photos.com/12323531/3532336/13603496/s65_valerio.sbravatti.jpg"}</script></span></span></li><li class="js-paper-rank-work_38007942 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38007942"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38007942, container: ".js-paper-rank-work_38007942", }); });</script></li><li class="js-percentile-work_38007942 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38007942; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38007942"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38007942 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38007942"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38007942; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38007942]").text(description); $(".js-view-count-work_38007942").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38007942").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38007942"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5549" href="https://www.academia.edu/Documents/in/Horror_Film">Horror Film</a>, <script data-card-contents-for-ri="5549" type="text/json">{"id":5549,"name":"Horror Film","url":"https://www.academia.edu/Documents/in/Horror_Film?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1666945" href="https://www.academia.edu/Documents/in/Neurofilmology">Neurofilmology</a><script data-card-contents-for-ri="1666945" type="text/json">{"id":1666945,"name":"Neurofilmology","url":"https://www.academia.edu/Documents/in/Neurofilmology?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38007942]'), work: {"id":38007942,"title":"Sentire la paura: \"La casa\" e il suo remake","created_at":"2018-12-19T03:32:16.564-08:00","url":"https://www.academia.edu/38007942/Sentire_la_paura_La_casa_e_il_suo_remake?f_ri=2601","dom_id":"work_38007942","summary":"[Hearing fear, feeling fear: \"The Evil Dead\" and its remake.]\r\nThrough the comparative analysis of the film The Evil Dead (1981) and its remake Evil Dead (2013), this article aims at demonstrating that sound in horror films has a substantial role in eliciting fear in the perceiver, by prompting both primordial responses and higher-order inferences. I examine the biological bases that favor the fearfulness of the genre’s typical acoustical elements, such as the use of very low and very high frequencies, of strong dynamic contrasts, of crude timbres, of noisiness, and – as regards the second film – of an aggressive surround sound spatialization.","downloadable_attachments":[{"id":58027871,"asset_id":38007942,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12323531,"first_name":"Valerio","last_name":"Sbravatti","domain_name":"uniroma1","page_name":"ValerioSbravatti","display_name":"Valerio Sbravatti","profile_url":"https://uniroma1.academia.edu/ValerioSbravatti?f_ri=2601","photo":"https://0.academia-photos.com/12323531/3532336/13603496/s65_valerio.sbravatti.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":5549,"name":"Horror Film","url":"https://www.academia.edu/Documents/in/Horror_Film?f_ri=2601","nofollow":false},{"id":1666945,"name":"Neurofilmology","url":"https://www.academia.edu/Documents/in/Neurofilmology?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43878966" data-work_id="43878966" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43878966/M%C3%B6glichkeiten_kultureller_Identifikation_in_Howard_Shores_Soundtrack_zu_Peter_Jacksons_THE_LORD_OF_THE_RINGS">Möglichkeiten kultureller Identifikation in Howard Shores Soundtrack zu Peter Jacksons THE LORD OF THE RINGS</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper examines the possibilities of cultural identity construction in connection with Howard Shore's soundrack to the Lord of the Rings movies by Peter Jackson. By applying Philip Taggs musematic analysis as an analytical tool (as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43878966" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper examines the possibilities of cultural identity construction in connection with Howard Shore's soundrack to the Lord of the Rings movies by Peter Jackson. By applying Philip Taggs musematic analysis as an analytical tool (as proposed by Mathew Young) it examines notions of Celticness. At the same time it challenges simple attributions by comparing the music with other musical examples typically connected with Englishness and Tolkien's textual source as well as the writer's own intentions regarding his novel.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43878966" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9e709c74897510d5c2bb70237beec253" rel="nofollow" data-download="{"attachment_id":64202192,"asset_id":43878966,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64202192/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28434506" href="https://hmt-rostock.academia.edu/MartinSchr%C3%B6der">Martin Schröder</a><script data-card-contents-for-user="28434506" type="text/json">{"id":28434506,"first_name":"Martin","last_name":"Schröder","domain_name":"hmt-rostock","page_name":"MartinSchröder","display_name":"Martin Schröder","profile_url":"https://hmt-rostock.academia.edu/MartinSchr%C3%B6der?f_ri=2601","photo":"https://0.academia-photos.com/28434506/9365250/147385523/s65_martin.schr_der.jpg"}</script></span></span></li><li class="js-paper-rank-work_43878966 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43878966"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43878966, container: ".js-paper-rank-work_43878966", }); });</script></li><li class="js-percentile-work_43878966 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43878966; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43878966"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43878966 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43878966"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43878966; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43878966]").text(description); $(".js-view-count-work_43878966").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43878966").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43878966"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14595" href="https://www.academia.edu/Documents/in/Analysis_of_Film_Music">Analysis of Film Music</a>, <script data-card-contents-for-ri="14595" type="text/json">{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21991" href="https://www.academia.edu/Documents/in/Film_music_and_film_music_theory">Film music and film music theory</a>, <script data-card-contents-for-ri="21991" type="text/json">{"id":21991,"name":"Film music and film music theory","url":"https://www.academia.edu/Documents/in/Film_music_and_film_music_theory?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="31548" href="https://www.academia.edu/Documents/in/Celtic_Music">Celtic Music</a><script data-card-contents-for-ri="31548" type="text/json">{"id":31548,"name":"Celtic Music","url":"https://www.academia.edu/Documents/in/Celtic_Music?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43878966]'), work: {"id":43878966,"title":"Möglichkeiten kultureller Identifikation in Howard Shores Soundtrack zu Peter Jacksons THE LORD OF THE RINGS","created_at":"2020-08-17T06:29:19.595-07:00","url":"https://www.academia.edu/43878966/M%C3%B6glichkeiten_kultureller_Identifikation_in_Howard_Shores_Soundtrack_zu_Peter_Jacksons_THE_LORD_OF_THE_RINGS?f_ri=2601","dom_id":"work_43878966","summary":"This paper examines the possibilities of cultural identity construction in connection with Howard Shore's soundrack to the Lord of the Rings movies by Peter Jackson. By applying Philip Taggs musematic analysis as an analytical tool (as proposed by Mathew Young) it examines notions of Celticness. At the same time it challenges simple attributions by comparing the music with other musical examples typically connected with Englishness and Tolkien's textual source as well as the writer's own intentions regarding his novel.","downloadable_attachments":[{"id":64202192,"asset_id":43878966,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":28434506,"first_name":"Martin","last_name":"Schröder","domain_name":"hmt-rostock","page_name":"MartinSchröder","display_name":"Martin Schröder","profile_url":"https://hmt-rostock.academia.edu/MartinSchr%C3%B6der?f_ri=2601","photo":"https://0.academia-photos.com/28434506/9365250/147385523/s65_martin.schr_der.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601","nofollow":false},{"id":21991,"name":"Film music and film music theory","url":"https://www.academia.edu/Documents/in/Film_music_and_film_music_theory?f_ri=2601","nofollow":false},{"id":31548,"name":"Celtic Music","url":"https://www.academia.edu/Documents/in/Celtic_Music?f_ri=2601","nofollow":false},{"id":39323,"name":"Film Music","url":"https://www.academia.edu/Documents/in/Film_Music?f_ri=2601"},{"id":137310,"name":"Peter Jackson","url":"https://www.academia.edu/Documents/in/Peter_Jackson?f_ri=2601"},{"id":301629,"name":"Lord of the Rings","url":"https://www.academia.edu/Documents/in/Lord_of_the_Rings?f_ri=2601"},{"id":304050,"name":"Music Scoring for Film","url":"https://www.academia.edu/Documents/in/Music_Scoring_for_Film?f_ri=2601"},{"id":2750835,"name":"Howard Shore, músico","url":"https://www.academia.edu/Documents/in/Howard_Shore_m%C3%BAsico?f_ri=2601"},{"id":3256052,"name":"Peter Jackson's Tolkien films","url":"https://www.academia.edu/Documents/in/Peter_Jacksons_Tolkien_films?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_21495307" data-work_id="21495307" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/21495307/Intenciones_e_intersecciones_de_la_m%C3%BAsica_cl%C3%A1sica_en_Hannibal_de_Bryan_Fuller_NBC_">Intenciones e intersecciones de la música clásica en Hannibal de Bryan Fuller (NBC)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La música desarrolla un rol clave en nuestra experiencia audiovisual. Aunque en un relato audiovisual la imagen es el foco consciente de la atención, es la banda sonora quien aporta una serie de efectos, sensaciones, significaciones... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_21495307" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La música desarrolla un rol clave en nuestra experiencia <br />audiovisual. Aunque en un relato audiovisual la imagen es <br />el foco consciente de la atención, es la banda sonora quien <br />aporta una serie de efectos, sensaciones, significaciones que <br />enriquecen la narración y que habitualmente se asocian a lo <br />visual. El papel activo de la música en la interpretación de la <br />imagen resulta especialmente destacable en Hannibal (Fuller, NBC). La particularidad de su scoring, que conjuga composiciones originales con el repertorio clásico característico de Hannibal Lecter contribuye a la creación de la atmósfera de la serie y la dota de nuevos significados derivados de un inteligente uso de la intertextualidad. En este sentido el presente artículo presenta un análisis de la música clásica en Hannibal, sus relaciones y significaciones.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/21495307" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b3fc72f71288b40c0b2430c0ca1388f2" rel="nofollow" data-download="{"attachment_id":41929302,"asset_id":21495307,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41929302/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3365569" href="https://coruna.academia.edu/TeresaPi%C3%B1eiro">Teresa Piñeiro-Otero</a><script data-card-contents-for-user="3365569" type="text/json">{"id":3365569,"first_name":"Teresa","last_name":"Piñeiro-Otero","domain_name":"coruna","page_name":"TeresaPiñeiro","display_name":"Teresa Piñeiro-Otero","profile_url":"https://coruna.academia.edu/TeresaPi%C3%B1eiro?f_ri=2601","photo":"https://0.academia-photos.com/3365569/1131103/12372383/s65_teresa.pi_eiro.jpg"}</script></span></span></li><li class="js-paper-rank-work_21495307 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="21495307"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 21495307, container: ".js-paper-rank-work_21495307", }); });</script></li><li class="js-percentile-work_21495307 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21495307; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_21495307"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_21495307 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="21495307"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21495307; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21495307]").text(description); $(".js-view-count-work_21495307").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_21495307").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="21495307"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1237" href="https://www.academia.edu/Documents/in/Social_Sciences">Social Sciences</a>, <script data-card-contents-for-ri="1237" type="text/json">{"id":1237,"name":"Social Sciences","url":"https://www.academia.edu/Documents/in/Social_Sciences?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7212" href="https://www.academia.edu/Documents/in/Sound_studies">Sound studies</a><script data-card-contents-for-ri="7212" type="text/json">{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=21495307]'), work: {"id":21495307,"title":"Intenciones e intersecciones de la música clásica en Hannibal de Bryan Fuller (NBC)","created_at":"2016-02-03T00:36:48.772-08:00","url":"https://www.academia.edu/21495307/Intenciones_e_intersecciones_de_la_m%C3%BAsica_cl%C3%A1sica_en_Hannibal_de_Bryan_Fuller_NBC_?f_ri=2601","dom_id":"work_21495307","summary":"La música desarrolla un rol clave en nuestra experiencia \naudiovisual. Aunque en un relato audiovisual la imagen es \nel foco consciente de la atención, es la banda sonora quien \naporta una serie de efectos, sensaciones, significaciones que \nenriquecen la narración y que habitualmente se asocian a lo \nvisual. El papel activo de la música en la interpretación de la \nimagen resulta especialmente destacable en Hannibal (Fuller, NBC). La particularidad de su scoring, que conjuga composiciones originales con el repertorio clásico característico de Hannibal Lecter contribuye a la creación de la atmósfera de la serie y la dota de nuevos significados derivados de un inteligente uso de la intertextualidad. En este sentido el presente artículo presenta un análisis de la música clásica en Hannibal, sus relaciones y significaciones. ","downloadable_attachments":[{"id":41929302,"asset_id":21495307,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3365569,"first_name":"Teresa","last_name":"Piñeiro-Otero","domain_name":"coruna","page_name":"TeresaPiñeiro","display_name":"Teresa Piñeiro-Otero","profile_url":"https://coruna.academia.edu/TeresaPi%C3%B1eiro?f_ri=2601","photo":"https://0.academia-photos.com/3365569/1131103/12372383/s65_teresa.pi_eiro.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2601","nofollow":false},{"id":1237,"name":"Social Sciences","url":"https://www.academia.edu/Documents/in/Social_Sciences?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=2601","nofollow":false},{"id":14595,"name":"Analysis of Film Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Film_Music?f_ri=2601"},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=2601"},{"id":99301,"name":"Música","url":"https://www.academia.edu/Documents/in/M%C3%BAsica?f_ri=2601"},{"id":1349091,"name":"´Diseño Sonoro","url":"https://www.academia.edu/Documents/in/_Diseno_Sonoro?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19220194" data-work_id="19220194" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19220194/Embodying_truthful_possibilities_an_interview_with_D_A_Pennebaker">Embodying 'truthful possibilities': an interview with D.A. Pennebaker</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19220194" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films: the highly formative early shorts Baby (1954) and Daybreak Express<br />(1953–1957), the Drew Associates oddity David (1961), as well as Wild 90 (1968), Eat the Document (1972) and 1 P.M. (1972) – collaborations with Norman Mailer, Bob Dylan and Jean-Luc Godard, respectively. He addresses the meaning of cinéma vérité, Godard’s ‘reckless’ approach to film-making, and the sadness behind his second, and ultimately abandoned, collaboration with Dylan.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19220194" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="152bb0d90eb58d2540df9d362aaa50bb" rel="nofollow" data-download="{"attachment_id":40498194,"asset_id":19220194,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40498194/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12897768" href="https://sussex.academia.edu/FrankVerano">Frank Verano</a><script data-card-contents-for-user="12897768" type="text/json">{"id":12897768,"first_name":"Frank","last_name":"Verano","domain_name":"sussex","page_name":"FrankVerano","display_name":"Frank Verano","profile_url":"https://sussex.academia.edu/FrankVerano?f_ri=2601","photo":"https://0.academia-photos.com/12897768/3651702/4282323/s65_frank.verano.jpg"}</script></span></span></li><li class="js-paper-rank-work_19220194 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19220194"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19220194, container: ".js-paper-rank-work_19220194", }); 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$(".js-view-count[data-work-id=19220194]").text(description); $(".js-view-count-work_19220194").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19220194").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19220194"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">24</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="390" href="https://www.academia.edu/Documents/in/American_Studies">American Studies</a>, <script data-card-contents-for-ri="390" type="text/json">{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a><script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19220194]'), work: {"id":19220194,"title":"Embodying 'truthful possibilities': an interview with D.A. Pennebaker","created_at":"2015-11-30T02:34:55.287-08:00","url":"https://www.academia.edu/19220194/Embodying_truthful_possibilities_an_interview_with_D_A_Pennebaker?f_ri=2601","dom_id":"work_19220194","summary":"American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films: the highly formative early shorts Baby (1954) and Daybreak Express\n(1953–1957), the Drew Associates oddity David (1961), as well as Wild 90 (1968), Eat the Document (1972) and 1 P.M. (1972) – collaborations with Norman Mailer, Bob Dylan and Jean-Luc Godard, respectively. He addresses the meaning of cinéma vérité, Godard’s ‘reckless’ approach to film-making, and the sadness behind his second, and ultimately abandoned, collaboration with Dylan.","downloadable_attachments":[{"id":40498194,"asset_id":19220194,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12897768,"first_name":"Frank","last_name":"Verano","domain_name":"sussex","page_name":"FrankVerano","display_name":"Frank Verano","profile_url":"https://sussex.academia.edu/FrankVerano?f_ri=2601","photo":"https://0.academia-photos.com/12897768/3651702/4282323/s65_frank.verano.jpg"}],"research_interests":[{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=2601","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=2601","nofollow":false},{"id":16128,"name":"Bob Dylan","url":"https://www.academia.edu/Documents/in/Bob_Dylan?f_ri=2601"},{"id":19166,"name":"Duke Ellington","url":"https://www.academia.edu/Documents/in/Duke_Ellington?f_ri=2601"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=2601"},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=2601"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=2601"},{"id":44811,"name":"Documentary","url":"https://www.academia.edu/Documents/in/Documentary?f_ri=2601"},{"id":47854,"name":"Jean-Luc Godard","url":"https://www.academia.edu/Documents/in/Jean-Luc_Godard?f_ri=2601"},{"id":82213,"name":"Jean Rouch","url":"https://www.academia.edu/Documents/in/Jean_Rouch?f_ri=2601"},{"id":87786,"name":"New York City","url":"https://www.academia.edu/Documents/in/New_York_City?f_ri=2601"},{"id":88308,"name":"Direct Cinema","url":"https://www.academia.edu/Documents/in/Direct_Cinema?f_ri=2601"},{"id":103053,"name":"Norman Mailer","url":"https://www.academia.edu/Documents/in/Norman_Mailer?f_ri=2601"},{"id":123252,"name":"John F. Kennedy","url":"https://www.academia.edu/Documents/in/John_F._Kennedy?f_ri=2601"},{"id":163191,"name":"Martin Scorsese","url":"https://www.academia.edu/Documents/in/Martin_Scorsese?f_ri=2601"},{"id":194324,"name":"History of New York City","url":"https://www.academia.edu/Documents/in/History_of_New_York_City?f_ri=2601"},{"id":397745,"name":"Cinema Verite","url":"https://www.academia.edu/Documents/in/Cinema_Verite?f_ri=2601"},{"id":833160,"name":"Richard Leacock","url":"https://www.academia.edu/Documents/in/Richard_Leacock?f_ri=2601"},{"id":957961,"name":"Robert Flaherty","url":"https://www.academia.edu/Documents/in/Robert_Flaherty?f_ri=2601"},{"id":1282012,"name":"D.A. Pennebaker","url":"https://www.academia.edu/Documents/in/D.A._Pennebaker?f_ri=2601"},{"id":1415478,"name":"Albert Maysles","url":"https://www.academia.edu/Documents/in/Albert_Maysles?f_ri=2601"},{"id":1661642,"name":"John Sloan","url":"https://www.academia.edu/Documents/in/John_Sloan?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5262593" data-work_id="5262593" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5262593/_Can_t_Beat_me_Own_Drum_in_me_Own_Native_Land_Calypso_Music_and_Tourism_in_the_Panamanian_Atlantic_Coast">‘Can’t Beat me Own Drum in me Own Native Land:’ Calypso Music and Tourism in the Panamanian Atlantic Coast</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5262593" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3248540c22cdf278e5d9bc3b32d85616" rel="nofollow" data-download="{"attachment_id":32441107,"asset_id":5262593,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32441107/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="262350" href="https://udel.academia.edu/carlaguerronmontero">Carla M . Guerron Montero</a><script data-card-contents-for-user="262350" type="text/json">{"id":262350,"first_name":"Carla","last_name":"Guerron Montero","domain_name":"udel","page_name":"carlaguerronmontero","display_name":"Carla M . Guerron Montero","profile_url":"https://udel.academia.edu/carlaguerronmontero?f_ri=2601","photo":"https://0.academia-photos.com/262350/2691756/132077095/s65_carla.guerron_montero.jpg"}</script></span></span></li><li class="js-paper-rank-work_5262593 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5262593"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5262593, container: ".js-paper-rank-work_5262593", }); });</script></li><li class="js-percentile-work_5262593 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5262593; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5262593"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5262593 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5262593"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5262593; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5262593]").text(description); $(".js-view-count-work_5262593").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5262593").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5262593"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5262593]'), work: {"id":5262593,"title":"‘Can’t Beat me Own Drum in me Own Native Land:’ Calypso Music and Tourism in the Panamanian Atlantic Coast","created_at":"2013-11-29T07:34:15.241-08:00","url":"https://www.academia.edu/5262593/_Can_t_Beat_me_Own_Drum_in_me_Own_Native_Land_Calypso_Music_and_Tourism_in_the_Panamanian_Atlantic_Coast?f_ri=2601","dom_id":"work_5262593","summary":null,"downloadable_attachments":[{"id":32441107,"asset_id":5262593,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":262350,"first_name":"Carla","last_name":"Guerron Montero","domain_name":"udel","page_name":"carlaguerronmontero","display_name":"Carla M . Guerron Montero","profile_url":"https://udel.academia.edu/carlaguerronmontero?f_ri=2601","photo":"https://0.academia-photos.com/262350/2691756/132077095/s65_carla.guerron_montero.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40993660" data-work_id="40993660" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40993660/_It_s_all_recorded_Voce_e_ontologia_nel_cinema_contemporaneo_In_La_voce_mediatizzata_a_cura_di_S_Lombardi_Vallauri_e_M_Rizzuti_Milano_Mimesis_2019_pp_93_105_">«It’s all recorded». Voce e ontologia nel cinema contemporaneo (In "La voce mediatizzata", a cura di S. Lombardi Vallauri e M. Rizzuti, Milano, Mimesis, 2019, pp. 93-105)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A partire dalla fine degli anni Sessanta il linguaggio cinematografico è contrassegnato dall’affioramento periodico di una duplice pulsione: a disgregare la struttura narrativa mediante la sostituzione del tempo cronologico, omogeneo,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40993660" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A partire dalla fine degli anni Sessanta il linguaggio cinematografico è contrassegnato dall’affioramento periodico di una duplice pulsione: a disgregare la struttura narrativa mediante la sostituzione del tempo cronologico, omogeneo, irreversibile, quantitativo e calcolabile, con un tempo esistenziale, inesteso, non divisibile, qualitativo, eterogeneo, non misurabile e reversibile; a dissolvere le voci esterne o interne alla diegesi mediante un sistematico disoriginamento, che è prima di tutto un divorzio tra l’immagine e il sonoro, in direzione, direbbe Michel Chion, di un cinema «acusmatico». In direzione di un cinema che mette in questione l’ontologia e l’innocenza della sua tecnica audio-visiva, smascherando l’ideologia e il dogmatismo che hanno trasformato in religione l’unione di suono e immagine: le voci sono dissociate dai corpi di appartenenza e anche dalle individualità che essi incarnano.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40993660" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b371aff6d6116198ed8a0b6df69aacd5" rel="nofollow" data-download="{"attachment_id":61275293,"asset_id":40993660,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61275293/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7615693" href="https://iulm.academia.edu/FabioVittorini">Fabio Vittorini</a><script data-card-contents-for-user="7615693" type="text/json">{"id":7615693,"first_name":"Fabio","last_name":"Vittorini","domain_name":"iulm","page_name":"FabioVittorini","display_name":"Fabio Vittorini","profile_url":"https://iulm.academia.edu/FabioVittorini?f_ri=2601","photo":"https://0.academia-photos.com/7615693/2746878/142587256/s65_fabio.vittorini.jpeg"}</script></span></span></li><li class="js-paper-rank-work_40993660 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40993660"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40993660, container: ".js-paper-rank-work_40993660", }); 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Voce e ontologia nel cinema contemporaneo (In \"La voce mediatizzata\", a cura di S. Lombardi Vallauri e M. Rizzuti, Milano, Mimesis, 2019, pp. 93-105)","created_at":"2019-11-20T00:39:56.796-08:00","url":"https://www.academia.edu/40993660/_It_s_all_recorded_Voce_e_ontologia_nel_cinema_contemporaneo_In_La_voce_mediatizzata_a_cura_di_S_Lombardi_Vallauri_e_M_Rizzuti_Milano_Mimesis_2019_pp_93_105_?f_ri=2601","dom_id":"work_40993660","summary":"A partire dalla fine degli anni Sessanta il linguaggio cinematografico è contrassegnato dall’affioramento periodico di una duplice pulsione: a disgregare la struttura narrativa mediante la sostituzione del tempo cronologico, omogeneo, irreversibile, quantitativo e calcolabile, con un tempo esistenziale, inesteso, non divisibile, qualitativo, eterogeneo, non misurabile e reversibile; a dissolvere le voci esterne o interne alla diegesi mediante un sistematico disoriginamento, che è prima di tutto un divorzio tra l’immagine e il sonoro, in direzione, direbbe Michel Chion, di un cinema «acusmatico». In direzione di un cinema che mette in questione l’ontologia e l’innocenza della sua tecnica audio-visiva, smascherando l’ideologia e il dogmatismo che hanno trasformato in religione l’unione di suono e immagine: le voci sono dissociate dai corpi di appartenenza e anche dalle individualità che essi incarnano.","downloadable_attachments":[{"id":61275293,"asset_id":40993660,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7615693,"first_name":"Fabio","last_name":"Vittorini","domain_name":"iulm","page_name":"FabioVittorini","display_name":"Fabio Vittorini","profile_url":"https://iulm.academia.edu/FabioVittorini?f_ri=2601","photo":"https://0.academia-photos.com/7615693/2746878/142587256/s65_fabio.vittorini.jpeg"}],"research_interests":[{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":28084,"name":"Krzysztof Kieslowski","url":"https://www.academia.edu/Documents/in/Krzysztof_Kieslowski?f_ri=2601","nofollow":false},{"id":28923,"name":"David Lynch","url":"https://www.academia.edu/Documents/in/David_Lynch?f_ri=2601","nofollow":false},{"id":43810,"name":"Terrence Malick","url":"https://www.academia.edu/Documents/in/Terrence_Malick?f_ri=2601"},{"id":45283,"name":"Wong Kar-Wai","url":"https://www.academia.edu/Documents/in/Wong_Kar-Wai?f_ri=2601"},{"id":52334,"name":"Pedro Almodóvar","url":"https://www.academia.edu/Documents/in/Pedro_Almodovar?f_ri=2601"},{"id":54495,"name":"Voice","url":"https://www.academia.edu/Documents/in/Voice?f_ri=2601"},{"id":144470,"name":"Charlie Kaufman","url":"https://www.academia.edu/Documents/in/Charlie_Kaufman?f_ri=2601"},{"id":145008,"name":"New Hollywood Cinema","url":"https://www.academia.edu/Documents/in/New_Hollywood_Cinema?f_ri=2601"},{"id":294169,"name":"Michel Chion","url":"https://www.academia.edu/Documents/in/Michel_Chion?f_ri=2601"},{"id":1122619,"name":"Spike Jonze","url":"https://www.academia.edu/Documents/in/Spike_Jonze?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45632637" data-work_id="45632637" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45632637/Intorno_a_Luchino_Visconti_Dieci_sguardi_eccentrici">Intorno a Luchino Visconti. Dieci sguardi eccentrici</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The essays collected in this book focus on unusual relations and marginal objects, with the purpose to draw a portrait of Luchino Visconti less fossilized than that resulting from canonical authorial perspectives, and more vividly... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45632637" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The essays collected in this book focus on unusual relations and marginal objects, with the purpose to draw a portrait of Luchino Visconti less fossilized than that resulting from canonical authorial perspectives, and more vividly connected to both ideological clashes and the secular interests of cultural industry. These ten essays (five of which previously unpublished) cover neglected aspects (and the reasons of their removal) surfacing in sometimes extravagant aesthetic contrasts (between Hollywood and Thomas Mann, Greek theater and avant-garde, political commitment and popular cinema); in harmonies and dissonances in the collaborations with Marcello Mastroianni, Nino Rota and Helmut Berger; in the often gross comments of the extreme right-wing press; in the hostility of the Venice Film Festival; in the distortions produced by the lens of popular culture through political or even porn parodies, post-1968 ironies, and unexpected affinities with popular genres. What come out are new readings of films such as "White Nights", "Rocco and His Brothers", “Sandra", “Ludwig" and "Conversation Piece", but also a general revision of Visconti’s career.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45632637" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c9f2244951bae3e3ceb79573083b079f" rel="nofollow" data-download="{"attachment_id":66126130,"asset_id":45632637,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66126130/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1277150" href="https://unimi.academia.edu/MauroGiori">Mauro Giori</a><script data-card-contents-for-user="1277150" type="text/json">{"id":1277150,"first_name":"Mauro","last_name":"Giori","domain_name":"unimi","page_name":"MauroGiori","display_name":"Mauro Giori","profile_url":"https://unimi.academia.edu/MauroGiori?f_ri=2601","photo":"https://0.academia-photos.com/1277150/468595/40624317/s65_mauro.giori.jpg"}</script></span></span></li><li class="js-paper-rank-work_45632637 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45632637"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45632637, container: ".js-paper-rank-work_45632637", }); 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$(".js-view-count[data-work-id=45632637]").text(description); $(".js-view-count-work_45632637").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45632637").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45632637"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3145" href="https://www.academia.edu/Documents/in/Literature_and_cinema">Literature and cinema</a>, <script data-card-contents-for-ri="3145" type="text/json">{"id":3145,"name":"Literature and cinema","url":"https://www.academia.edu/Documents/in/Literature_and_cinema?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7885" href="https://www.academia.edu/Documents/in/Italian_Cultural_Studies">Italian Cultural Studies</a>, <script data-card-contents-for-ri="7885" type="text/json">{"id":7885,"name":"Italian Cultural Studies","url":"https://www.academia.edu/Documents/in/Italian_Cultural_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8079" href="https://www.academia.edu/Documents/in/Film_Adaptation">Film Adaptation</a><script data-card-contents-for-ri="8079" type="text/json">{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45632637]'), work: {"id":45632637,"title":"Intorno a Luchino Visconti. Dieci sguardi eccentrici","created_at":"2021-03-29T02:52:15.130-07:00","url":"https://www.academia.edu/45632637/Intorno_a_Luchino_Visconti_Dieci_sguardi_eccentrici?f_ri=2601","dom_id":"work_45632637","summary":"The essays collected in this book focus on unusual relations and marginal objects, with the purpose to draw a portrait of Luchino Visconti less fossilized than that resulting from canonical authorial perspectives, and more vividly connected to both ideological clashes and the secular interests of cultural industry. These ten essays (five of which previously unpublished) cover neglected aspects (and the reasons of their removal) surfacing in sometimes extravagant aesthetic contrasts (between Hollywood and Thomas Mann, Greek theater and avant-garde, political commitment and popular cinema); in harmonies and dissonances in the collaborations with Marcello Mastroianni, Nino Rota and Helmut Berger; in the often gross comments of the extreme right-wing press; in the hostility of the Venice Film Festival; in the distortions produced by the lens of popular culture through political or even porn parodies, post-1968 ironies, and unexpected affinities with popular genres. What come out are new readings of films such as \"White Nights\", \"Rocco and His Brothers\", “Sandra\", “Ludwig\" and \"Conversation Piece\", but also a general revision of Visconti’s career.","downloadable_attachments":[{"id":66126130,"asset_id":45632637,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1277150,"first_name":"Mauro","last_name":"Giori","domain_name":"unimi","page_name":"MauroGiori","display_name":"Mauro Giori","profile_url":"https://unimi.academia.edu/MauroGiori?f_ri=2601","photo":"https://0.academia-photos.com/1277150/468595/40624317/s65_mauro.giori.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3145,"name":"Literature and cinema","url":"https://www.academia.edu/Documents/in/Literature_and_cinema?f_ri=2601","nofollow":false},{"id":7885,"name":"Italian Cultural Studies","url":"https://www.academia.edu/Documents/in/Italian_Cultural_Studies?f_ri=2601","nofollow":false},{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=2601","nofollow":false},{"id":10349,"name":"Politics and Film","url":"https://www.academia.edu/Documents/in/Politics_and_Film?f_ri=2601"},{"id":10691,"name":"Italian Cinema","url":"https://www.academia.edu/Documents/in/Italian_Cinema?f_ri=2601"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=2601"},{"id":26083,"name":"Film Stars","url":"https://www.academia.edu/Documents/in/Film_Stars?f_ri=2601"},{"id":38576,"name":"Pornography Studies","url":"https://www.academia.edu/Documents/in/Pornography_Studies?f_ri=2601"},{"id":51922,"name":"Film Criticism","url":"https://www.academia.edu/Documents/in/Film_Criticism?f_ri=2601"},{"id":68360,"name":"Film Festivals","url":"https://www.academia.edu/Documents/in/Film_Festivals?f_ri=2601"},{"id":221622,"name":"Luchino Visconti","url":"https://www.academia.edu/Documents/in/Luchino_Visconti?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38076556" data-work_id="38076556" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38076556/La_musicalizaci%C3%B3n_dieg%C3%A9tica_de_la_crisis_en_el_cine_negro_hollywoodiense">La musicalización diegética de la crisis en el cine negro hollywoodiense</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumen. El estado de crisis es inherente al cine negro. Este es representado en un género que se alimentó del bagaje cultural aportado por directores cuya procedencia centroeuropea y ascendencia judía condicionaron los recursos... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38076556" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumen. El estado de crisis es inherente al cine negro. Este es representado en un género que se alimentó del bagaje cultural aportado por directores cuya procedencia centroeuropea y ascendencia judía condicionaron los recursos narrativos y estéticos que se utilizarían para plasmar el drama y angustia propios del. Uno de los elementos de representación de estas crisis fue la música, tanto incidental como diegética. Por el carácter eminentemente realista de este cine, prestaremos atención a la segunda, concretamente, a la denominada música clásica. Tras el visionado de cincuenta películas de la edad de oro del cine negro hollywoodiense, observamos que esta música se emplea como elemento de representación de crisis culturales, sociales y personales, y su uso funcional juega un papel decisivo Palabras clave: Cine negro; Hollywood; década 1940; música diegética; música clásica; crisis [en] Source Musicalization of Crisis in the 40s Hollywoodian Film Noir Abstract. The state of crisis is inherent in. It is represented in a genre that was nourished by the cultural baggage of several directors whose Central European origin and Jewish ancestry conditioned the narrative and aesthetic resources that would be used to capture the drama and anguish of. One of the key elements of representation of these crises was music, both incidental and diegetic. Due in Hollywood, we observed that this music is used as an element of representation of cultural, social and personal crises, and its functional use plays a crucial role in the survival of the interpretative musical canon, as well as the values associated with its meaning.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38076556" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="57ed71a39ebb9ae5565e8117322b56f7" rel="nofollow" data-download="{"attachment_id":58102654,"asset_id":38076556,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58102654/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="47953914" href="https://usal.academia.edu/JudithHelviaGarc%C3%ADaMart%C3%ADn">Judith Helvia García Martín</a><script data-card-contents-for-user="47953914" type="text/json">{"id":47953914,"first_name":"Judith Helvia","last_name":"García Martín","domain_name":"usal","page_name":"JudithHelviaGarcíaMartín","display_name":"Judith Helvia García Martín","profile_url":"https://usal.academia.edu/JudithHelviaGarc%C3%ADaMart%C3%ADn?f_ri=2601","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_38076556 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38076556"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38076556, container: ".js-paper-rank-work_38076556", }); 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$(".js-view-count[data-work-id=38076556]").text(description); $(".js-view-count-work_38076556").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38076556").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38076556"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38076556]'), work: {"id":38076556,"title":"La musicalización diegética de la crisis en el cine negro hollywoodiense","created_at":"2019-01-02T11:39:41.323-08:00","url":"https://www.academia.edu/38076556/La_musicalizaci%C3%B3n_dieg%C3%A9tica_de_la_crisis_en_el_cine_negro_hollywoodiense?f_ri=2601","dom_id":"work_38076556","summary":"Resumen. El estado de crisis es inherente al cine negro. Este es representado en un género que se alimentó del bagaje cultural aportado por directores cuya procedencia centroeuropea y ascendencia judía condicionaron los recursos narrativos y estéticos que se utilizarían para plasmar el drama y angustia propios del. Uno de los elementos de representación de estas crisis fue la música, tanto incidental como diegética. Por el carácter eminentemente realista de este cine, prestaremos atención a la segunda, concretamente, a la denominada música clásica. Tras el visionado de cincuenta películas de la edad de oro del cine negro hollywoodiense, observamos que esta música se emplea como elemento de representación de crisis culturales, sociales y personales, y su uso funcional juega un papel decisivo Palabras clave: Cine negro; Hollywood; década 1940; música diegética; música clásica; crisis [en] Source Musicalization of Crisis in the 40s Hollywoodian Film Noir Abstract. The state of crisis is inherent in. It is represented in a genre that was nourished by the cultural baggage of several directors whose Central European origin and Jewish ancestry conditioned the narrative and aesthetic resources that would be used to capture the drama and anguish of. One of the key elements of representation of these crises was music, both incidental and diegetic. Due in Hollywood, we observed that this music is used as an element of representation of cultural, social and personal crises, and its functional use plays a crucial role in the survival of the interpretative musical canon, as well as the values associated with its meaning.","downloadable_attachments":[{"id":58102654,"asset_id":38076556,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":47953914,"first_name":"Judith Helvia","last_name":"García Martín","domain_name":"usal","page_name":"JudithHelviaGarcíaMartín","display_name":"Judith Helvia García Martín","profile_url":"https://usal.academia.edu/JudithHelviaGarc%C3%ADaMart%C3%ADn?f_ri=2601","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15803654" data-work_id="15803654" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/15803654/Theres_Meth_in_the_Madness_Music_and_Incongruity_in_AMC_s_Breaking_Bad">There's Meth in the Madness: Music and Incongruity in AMC’s Breaking Bad</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15803654" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c5ce4062bc917203004972b7b9ed4ae8" rel="nofollow" data-download="{"attachment_id":38799396,"asset_id":15803654,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38799396/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="321529" href="https://cit-ie.academia.edu/JessicaShine">Jessica Shine</a><script data-card-contents-for-user="321529" type="text/json">{"id":321529,"first_name":"Jessica","last_name":"Shine","domain_name":"cit-ie","page_name":"JessicaShine","display_name":"Jessica Shine","profile_url":"https://cit-ie.academia.edu/JessicaShine?f_ri=2601","photo":"https://0.academia-photos.com/321529/17976193/17985643/s65_jessica.shine.jpg"}</script></span></span></li><li class="js-paper-rank-work_15803654 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15803654"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15803654, container: ".js-paper-rank-work_15803654", }); 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$(".js-view-count[data-work-id=15803654]").text(description); $(".js-view-count-work_15803654").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15803654").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="15803654"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="670115" href="https://www.academia.edu/Documents/in/Film_Television_Music_Scoring">Film/Television Music Scoring</a><script data-card-contents-for-ri="670115" type="text/json">{"id":670115,"name":"Film/Television Music Scoring","url":"https://www.academia.edu/Documents/in/Film_Television_Music_Scoring?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15803654]'), work: {"id":15803654,"title":"There's Meth in the Madness: Music and Incongruity in AMC’s Breaking Bad","created_at":"2015-09-17T05:24:30.012-07:00","url":"https://www.academia.edu/15803654/Theres_Meth_in_the_Madness_Music_and_Incongruity_in_AMC_s_Breaking_Bad?f_ri=2601","dom_id":"work_15803654","summary":null,"downloadable_attachments":[{"id":38799396,"asset_id":15803654,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":321529,"first_name":"Jessica","last_name":"Shine","domain_name":"cit-ie","page_name":"JessicaShine","display_name":"Jessica Shine","profile_url":"https://cit-ie.academia.edu/JessicaShine?f_ri=2601","photo":"https://0.academia-photos.com/321529/17976193/17985643/s65_jessica.shine.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":670115,"name":"Film/Television Music Scoring","url":"https://www.academia.edu/Documents/in/Film_Television_Music_Scoring?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15156719" data-work_id="15156719" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/15156719/Moving_Beyond_the_Weird_Creepy_and_Indescribable_Pedagogical_Principles_and_Practices_for_Listening_to_Electroacoustic_Music_in_the_General_Education_Classroom">Moving Beyond the Weird, Creepy, and Indescribable: Pedagogical Principles and Practices for Listening to Electroacoustic Music in the General Education Classroom</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Electronic beeps, synthesizer melodies, and theremin portamento conjure up images of robots, aliens, space, and a dystopian technological future. This association with science fiction has a significant legacy (Hayward 2004; Laudadio... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15156719" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Electronic beeps, synthesizer melodies, and theremin portamento conjure up images of robots, aliens, space, and a dystopian technological future. This association with science fiction has a significant legacy (Hayward 2004; Laudadio 2011), including theremin in The Day the Earth Stood Still (1951), the first all-electronic soundtrack for The Forbidden Planet (1956), and synthesizer in Solaris (1972). This association also has ideological precedence in the link of technology with the “mystical and visionary” (Collins and d’Escrivan 2007, 13) in both early electronic music and science fiction, and in “electronic sound’s indexical relationship to intangible spaces, both cosmic and psychological” because they are “necessarily concealed, remote, detached” (Leydon 2004, 63). By 2015, given the abundance of non-electronic science fiction soundtracks—such as A.I. Artificial Intelligence (2001), Prometheus (2012), and Interstellar (2014)—we should be transcending these automatic connections. Not so, it seems, in the ears of my undergraduate general education students. Exposure to electroacoustic music recently in class and at a faculty composers concert resulted in characterizations of the music by these students as “creepy” and “like a science fiction soundtrack,” when, to my ears, the sounds had warmth and beauty, with many musical aspects we had been discussing in acoustic examples. <br /><br />Following a brief history of electronic music in science fiction, and a synthesis of perception and agency in electroacoustic music (d’Escrivan 2006; Emmerson 2007; Smalley 1996 and 1997), this paper outlines pedagogical strategies for removing students’ aural and conceptual barriers to electroacoustic music, providing a vocabulary, and facilitating critical listening through activities and assignments based primarily on Elizabeth Barkley’s Classroom Engagement Techniques (2009) and Judy Lochhead’s principles of phenomenological listening (1995). The paper will demonstrate this pedagogical approach to listening using Hugh Le Caine’s Dripsody (1955) and three remixes released on the Canadian Music Centre’s Centretracks.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15156719" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5ef010540b43d9e1a039fc26513bc38a" rel="nofollow" data-download="{"attachment_id":38560910,"asset_id":15156719,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38560910/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="964524" href="https://cmu.academia.edu/AlexaWoloshyn">Alexa Woloshyn</a><script data-card-contents-for-user="964524" type="text/json">{"id":964524,"first_name":"Alexa","last_name":"Woloshyn","domain_name":"cmu","page_name":"AlexaWoloshyn","display_name":"Alexa Woloshyn","profile_url":"https://cmu.academia.edu/AlexaWoloshyn?f_ri=2601","photo":"https://0.academia-photos.com/964524/353461/5693228/s65_alexa.woloshyn.jpg"}</script></span></span></li><li class="js-paper-rank-work_15156719 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15156719"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15156719, container: ".js-paper-rank-work_15156719", }); 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$(".js-view-count[data-work-id=15156719]").text(description); $(".js-view-count-work_15156719").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15156719").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="15156719"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3668" href="https://www.academia.edu/Documents/in/Student_Motivation_And_Engagement">Student Motivation And Engagement</a>, <script data-card-contents-for-ri="3668" type="text/json">{"id":3668,"name":"Student Motivation And Engagement","url":"https://www.academia.edu/Documents/in/Student_Motivation_And_Engagement?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9491" href="https://www.academia.edu/Documents/in/Pedagogy">Pedagogy</a>, <script data-card-contents-for-ri="9491" type="text/json">{"id":9491,"name":"Pedagogy","url":"https://www.academia.edu/Documents/in/Pedagogy?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10320" href="https://www.academia.edu/Documents/in/Electroacoustic_Music">Electroacoustic Music</a><script data-card-contents-for-ri="10320" type="text/json">{"id":10320,"name":"Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Electroacoustic_Music?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15156719]'), work: {"id":15156719,"title":"Moving Beyond the Weird, Creepy, and Indescribable: Pedagogical Principles and Practices for Listening to Electroacoustic Music in the General Education Classroom","created_at":"2015-08-24T17:37:41.419-07:00","url":"https://www.academia.edu/15156719/Moving_Beyond_the_Weird_Creepy_and_Indescribable_Pedagogical_Principles_and_Practices_for_Listening_to_Electroacoustic_Music_in_the_General_Education_Classroom?f_ri=2601","dom_id":"work_15156719","summary":"Electronic beeps, synthesizer melodies, and theremin portamento conjure up images of robots, aliens, space, and a dystopian technological future. This association with science fiction has a significant legacy (Hayward 2004; Laudadio 2011), including theremin in The Day the Earth Stood Still (1951), the first all-electronic soundtrack for The Forbidden Planet (1956), and synthesizer in Solaris (1972). This association also has ideological precedence in the link of technology with the “mystical and visionary” (Collins and d’Escrivan 2007, 13) in both early electronic music and science fiction, and in “electronic sound’s indexical relationship to intangible spaces, both cosmic and psychological” because they are “necessarily concealed, remote, detached” (Leydon 2004, 63). By 2015, given the abundance of non-electronic science fiction soundtracks—such as A.I. Artificial Intelligence (2001), Prometheus (2012), and Interstellar (2014)—we should be transcending these automatic connections. Not so, it seems, in the ears of my undergraduate general education students. Exposure to electroacoustic music recently in class and at a faculty composers concert resulted in characterizations of the music by these students as “creepy” and “like a science fiction soundtrack,” when, to my ears, the sounds had warmth and beauty, with many musical aspects we had been discussing in acoustic examples. \n\nFollowing a brief history of electronic music in science fiction, and a synthesis of perception and agency in electroacoustic music (d’Escrivan 2006; Emmerson 2007; Smalley 1996 and 1997), this paper outlines pedagogical strategies for removing students’ aural and conceptual barriers to electroacoustic music, providing a vocabulary, and facilitating critical listening through activities and assignments based primarily on Elizabeth Barkley’s Classroom Engagement Techniques (2009) and Judy Lochhead’s principles of phenomenological listening (1995). The paper will demonstrate this pedagogical approach to listening using Hugh Le Caine’s Dripsody (1955) and three remixes released on the Canadian Music Centre’s Centretracks. ","downloadable_attachments":[{"id":38560910,"asset_id":15156719,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":964524,"first_name":"Alexa","last_name":"Woloshyn","domain_name":"cmu","page_name":"AlexaWoloshyn","display_name":"Alexa Woloshyn","profile_url":"https://cmu.academia.edu/AlexaWoloshyn?f_ri=2601","photo":"https://0.academia-photos.com/964524/353461/5693228/s65_alexa.woloshyn.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":3668,"name":"Student Motivation And Engagement","url":"https://www.academia.edu/Documents/in/Student_Motivation_And_Engagement?f_ri=2601","nofollow":false},{"id":9491,"name":"Pedagogy","url":"https://www.academia.edu/Documents/in/Pedagogy?f_ri=2601","nofollow":false},{"id":10320,"name":"Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Electroacoustic_Music?f_ri=2601","nofollow":false},{"id":11100,"name":"Science Fiction Film","url":"https://www.academia.edu/Documents/in/Science_Fiction_Film?f_ri=2601"},{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=2601"},{"id":13265,"name":"History Of Electroacoustic Music","url":"https://www.academia.edu/Documents/in/History_Of_Electroacoustic_Music?f_ri=2601"},{"id":17951,"name":"Learning And Teaching In Higher Education","url":"https://www.academia.edu/Documents/in/Learning_And_Teaching_In_Higher_Education?f_ri=2601"},{"id":94940,"name":"Electronics and Instrumentation","url":"https://www.academia.edu/Documents/in/Electronics_and_Instrumentation?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5143702" data-work_id="5143702" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5143702/Being_Human_Through_Music_On_The_Matrix_Revolutions">Being Human Through Music. On The Matrix Revolutions</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5143702" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4863848ef260b82e7d306ec5af8a8c52" rel="nofollow" data-download="{"attachment_id":32344268,"asset_id":5143702,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32344268/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6093257" href="https://univ-lorraine.academia.edu/laurentjullier">Laurent Jullier</a><script data-card-contents-for-user="6093257" type="text/json">{"id":6093257,"first_name":"Laurent","last_name":"Jullier","domain_name":"univ-lorraine","page_name":"laurentjullier","display_name":"Laurent Jullier","profile_url":"https://univ-lorraine.academia.edu/laurentjullier?f_ri=2601","photo":"https://0.academia-photos.com/6093257/2648239/17444976/s65_laurent.jullier.jpg"}</script></span></span></li><li class="js-paper-rank-work_5143702 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5143702"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5143702, container: ".js-paper-rank-work_5143702", }); 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$(".js-view-count[data-work-id=5143702]").text(description); $(".js-view-count-work_5143702").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5143702").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5143702"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4420" href="https://www.academia.edu/Documents/in/Embodied_Cognition">Embodied Cognition</a>, <script data-card-contents-for-ri="4420" type="text/json">{"id":4420,"name":"Embodied Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Cognition?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="282924" href="https://www.academia.edu/Documents/in/Matrix">Matrix</a><script data-card-contents-for-ri="282924" type="text/json">{"id":282924,"name":"Matrix","url":"https://www.academia.edu/Documents/in/Matrix?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5143702]'), work: {"id":5143702,"title":"Being Human Through Music. On The Matrix Revolutions","created_at":"2013-11-18T15:59:07.039-08:00","url":"https://www.academia.edu/5143702/Being_Human_Through_Music_On_The_Matrix_Revolutions?f_ri=2601","dom_id":"work_5143702","summary":null,"downloadable_attachments":[{"id":32344268,"asset_id":5143702,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6093257,"first_name":"Laurent","last_name":"Jullier","domain_name":"univ-lorraine","page_name":"laurentjullier","display_name":"Laurent Jullier","profile_url":"https://univ-lorraine.academia.edu/laurentjullier?f_ri=2601","photo":"https://0.academia-photos.com/6093257/2648239/17444976/s65_laurent.jullier.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":4420,"name":"Embodied Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Cognition?f_ri=2601","nofollow":false},{"id":282924,"name":"Matrix","url":"https://www.academia.edu/Documents/in/Matrix?f_ri=2601","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2903412" data-work_id="2903412" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2903412/Great_Pianists_Artur_Schnabel_Beethoven_Piano_Works_Vol_9">Great Pianists: Artur Schnabel: Beethoven Piano Works, Vol. 9</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 -- 三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。 Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2903412" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 -- <br />三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。 <br />Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2903412" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4c46bdf7b4326b302f7cf8f2fcda83be" rel="nofollow" data-download="{"attachment_id":30902935,"asset_id":2903412,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30902935/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item 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Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12509" href="https://www.academia.edu/Documents/in/Beethoven">Beethoven</a>, <script data-card-contents-for-ri="12509" type="text/json">{"id":12509,"name":"Beethoven","url":"https://www.academia.edu/Documents/in/Beethoven?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="715127" href="https://www.academia.edu/Documents/in/Artur_Schnabel">Artur Schnabel</a>, <script data-card-contents-for-ri="715127" type="text/json">{"id":715127,"name":"Artur Schnabel","url":"https://www.academia.edu/Documents/in/Artur_Schnabel?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="725727" href="https://www.academia.edu/Documents/in/Piano_Sonata_No._30_In_E_Major_Op._109">Piano Sonata No. 30 In E Major, Op. 109</a><script data-card-contents-for-ri="725727" type="text/json">{"id":725727,"name":"Piano Sonata No. 30 In E Major, Op. 109","url":"https://www.academia.edu/Documents/in/Piano_Sonata_No._30_In_E_Major_Op._109?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2903412]'), work: {"id":2903412,"title":"Great Pianists: Artur Schnabel: Beethoven Piano Works, Vol. 9","created_at":"2013-03-04T10:49:11.405-08:00","url":"https://www.academia.edu/2903412/Great_Pianists_Artur_Schnabel_Beethoven_Piano_Works_Vol_9?f_ri=2601","dom_id":"work_2903412","summary":"路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --\r\n三十二首鋼琴奏鳴曲(包括\"悲愴\"、\"月光\"、\"暴風雨\"、\"華德斯坦\" 及 \"鎚子鍵琴\")、迪亞貝里變奏曲及其他作品。\r\nLudwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.","downloadable_attachments":[{"id":30902935,"asset_id":2903412,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2775109,"first_name":"Brian","last_name":"Thompson","domain_name":"mcgill","page_name":"BrianCThompson","display_name":"Brian C Thompson","profile_url":"https://mcgill.academia.edu/BrianCThompson?f_ri=2601","photo":"https://0.academia-photos.com/2775109/1063742/102365492/s65_brian.thompson.jpeg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":12509,"name":"Beethoven","url":"https://www.academia.edu/Documents/in/Beethoven?f_ri=2601","nofollow":false},{"id":715127,"name":"Artur Schnabel","url":"https://www.academia.edu/Documents/in/Artur_Schnabel?f_ri=2601","nofollow":false},{"id":725727,"name":"Piano Sonata No. 30 In E Major, Op. 109","url":"https://www.academia.edu/Documents/in/Piano_Sonata_No._30_In_E_Major_Op._109?f_ri=2601","nofollow":false},{"id":725728,"name":"Piano Sonata No. 31 In A Flat Major, Op. 110","url":"https://www.academia.edu/Documents/in/Piano_Sonata_No._31_In_A_Flat_Major_Op._110?f_ri=2601"},{"id":725729,"name":"Piano Sonata No. 32 In C Minor, Op. 111","url":"https://www.academia.edu/Documents/in/Piano_Sonata_No._32_In_C_Minor_Op._111?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4513997" data-work_id="4513997" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4513997/The_Films_of_Wes_Anderson_Critical_Essays_on_an_Indiewood_Icon">The Films of Wes Anderson: Critical Essays on an Indiewood 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href="https://www.academia.edu/3577703/Propagandistic_uses_of_the_military_folk_songs_in_the_cinema_during_the_Spanish_civil_war">Propagandistic uses of the military folk songs in the cinema during the Spanish civil war.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">17th Biennal Conference - International Association for the Study of Popular Music (IASPM) - Bridge Over Troubled Waters</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3577703" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a2e76769c4457b2730c925fafdffd21b" 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var workId = 3577703; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3577703"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3577703 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3577703"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3577703; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3577703]").text(description); $(".js-view-count-work_3577703").attr('title', description).tooltip(); }); });</script></span><script>$(function() { 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type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3577703]'), work: {"id":3577703,"title":"Propagandistic uses 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Cinema","url":"https://www.academia.edu/Documents/in/Spanish_Cinema?f_ri=2601"},{"id":20333,"name":"Spanish Civil War","url":"https://www.academia.edu/Documents/in/Spanish_Civil_War?f_ri=2601"},{"id":215944,"name":"Cine, musica, artes visuales","url":"https://www.academia.edu/Documents/in/Cine_musica_artes_visuales?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_67499280" data-work_id="67499280" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/67499280/Films_and_Religion_An_analysis_of_Aamir_Khan_s_PK">Films and Religion: An analysis of Aamir Khan’s PK</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Indian Film Industry and screen narratives on religionThe Indian film industry is the biggest in the world when it comes to number of films produced every year and has for many years been the world&#39;s largest film producing country,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_67499280" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Indian Film Industry and screen narratives on religionThe Indian film industry is the biggest in the world when it comes to number of films produced every year and has for many years been the world&#39;s largest film producing country, with an output in different languages. India also figures at the top position for ticket sales as a vast and growing urban filmgoing public in India supports film culture and circulation (Wadia, 2008).This speaks about the fervor around films in this country. Film production in India began almost simultaneously with other filmmaking countries, beginning in 1896 (Mazumdar, 2007). In the years after independence, Indian Cinema circulated outside the country to audiences in Russia, The Middle East, and Latin America.Bombay cinema, popularly known as &#39;Bollywood&#39; is the largest in India, followed by Tamil and Telugu cinema. Films are typically woven around love and romance, set in the backdrop of social, political, religious or economic crises. Rel...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/67499280" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7de0d90a3919099968538abd8cc41ae5" rel="nofollow" data-download="{"attachment_id":78292313,"asset_id":67499280,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/78292313/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="82317711" href="https://independent.academia.edu/qadrimonisa">monisa qadri</a><script data-card-contents-for-user="82317711" type="text/json">{"id":82317711,"first_name":"monisa","last_name":"qadri","domain_name":"independent","page_name":"qadrimonisa","display_name":"monisa qadri","profile_url":"https://independent.academia.edu/qadrimonisa?f_ri=2601","photo":"https://0.academia-photos.com/82317711/27866794/26139368/s65_monisa.qadri.jpg"}</script></span></span></li><li class="js-paper-rank-work_67499280 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="67499280"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 67499280, container: ".js-paper-rank-work_67499280", }); 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$(".js-view-count[data-work-id=67499280]").text(description); $(".js-view-count-work_67499280").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_67499280").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="67499280"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="106" href="https://www.academia.edu/Documents/in/Religion">Religion</a>, <script data-card-contents-for-ri="106" type="text/json">{"id":106,"name":"Religion","url":"https://www.academia.edu/Documents/in/Religion?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="184" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a><script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=67499280]'), work: {"id":67499280,"title":"Films and Religion: An analysis of Aamir Khan’s PK","created_at":"2022-01-07T02:09:10.619-08:00","url":"https://www.academia.edu/67499280/Films_and_Religion_An_analysis_of_Aamir_Khan_s_PK?f_ri=2601","dom_id":"work_67499280","summary":"Indian Film Industry and screen narratives on religionThe Indian film industry is the biggest in the world when it comes to number of films produced every year and has for many years been the world\u0026#39;s largest film producing country, with an output in different languages. India also figures at the top position for ticket sales as a vast and growing urban filmgoing public in India supports film culture and circulation (Wadia, 2008).This speaks about the fervor around films in this country. Film production in India began almost simultaneously with other filmmaking countries, beginning in 1896 (Mazumdar, 2007). In the years after independence, Indian Cinema circulated outside the country to audiences in Russia, The Middle East, and Latin America.Bombay cinema, popularly known as \u0026#39;Bollywood\u0026#39; is the largest in India, followed by Tamil and Telugu cinema. Films are typically woven around love and romance, set in the backdrop of social, political, religious or economic crises. Rel...","downloadable_attachments":[{"id":78292313,"asset_id":67499280,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":82317711,"first_name":"monisa","last_name":"qadri","domain_name":"independent","page_name":"qadrimonisa","display_name":"monisa qadri","profile_url":"https://independent.academia.edu/qadrimonisa?f_ri=2601","photo":"https://0.academia-photos.com/82317711/27866794/26139368/s65_monisa.qadri.jpg"}],"research_interests":[{"id":106,"name":"Religion","url":"https://www.academia.edu/Documents/in/Religion?f_ri=2601","nofollow":false},{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=2601","nofollow":false},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=2601","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2601"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2601"},{"id":3427,"name":"Religion and Film","url":"https://www.academia.edu/Documents/in/Religion_and_Film?f_ri=2601"},{"id":3646,"name":"Social Representations","url":"https://www.academia.edu/Documents/in/Social_Representations?f_ri=2601"},{"id":18277,"name":"Hindi Cinema","url":"https://www.academia.edu/Documents/in/Hindi_Cinema?f_ri=2601"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=2601"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=2601"},{"id":960014,"name":"Bombay Cinema","url":"https://www.academia.edu/Documents/in/Bombay_Cinema?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27158090" data-work_id="27158090" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27158090/Moody_Haptic_Sensations_to_Enhance_Mood_in_Film_Music">Moody: Haptic Sensations to Enhance Mood in Film Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this paper we present Moody, a haptic wearable prototype intended to enhance mood music in Film through haptic sensations. Moody is the design resulting from an exploratory study aimed at finding new ways to enrich emotions in film... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27158090" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this paper we present Moody, a haptic wearable prototype intended to enhance mood music in Film through haptic sensations. Moody is the design resulting from an exploratory study aimed at finding new ways to enrich emotions in film entertainment. The work is aimed at designing expressive haptic patterns to heighten suspense and excitement in those movie scenes where the music score amplifies what can't be shown, and that, is the mood.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27158090" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="eb7656609fd349a8b390a82015d77d17" rel="nofollow" data-download="{"attachment_id":55766231,"asset_id":27158090,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55766231/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3812404" href="https://qmul.academia.edu/AntonellaMazzoni">Antonella Mazzoni</a><script data-card-contents-for-user="3812404" type="text/json">{"id":3812404,"first_name":"Antonella","last_name":"Mazzoni","domain_name":"qmul","page_name":"AntonellaMazzoni","display_name":"Antonella Mazzoni","profile_url":"https://qmul.academia.edu/AntonellaMazzoni?f_ri=2601","photo":"https://0.academia-photos.com/3812404/1387221/8836828/s65_antonella.mazzoni.jpg"}</script></span></span></li><li class="js-paper-rank-work_27158090 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27158090"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27158090, container: ".js-paper-rank-work_27158090", }); 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Moody is the design resulting from an exploratory study aimed at finding new ways to enrich emotions in film entertainment. The work is aimed at designing expressive haptic patterns to heighten suspense and excitement in those movie scenes where the music score amplifies what can't be shown, and that, is the mood.","downloadable_attachments":[{"id":55766231,"asset_id":27158090,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3812404,"first_name":"Antonella","last_name":"Mazzoni","domain_name":"qmul","page_name":"AntonellaMazzoni","display_name":"Antonella Mazzoni","profile_url":"https://qmul.academia.edu/AntonellaMazzoni?f_ri=2601","photo":"https://0.academia-photos.com/3812404/1387221/8836828/s65_antonella.mazzoni.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false},{"id":9687,"name":"Wearable Technologies","url":"https://www.academia.edu/Documents/in/Wearable_Technologies?f_ri=2601","nofollow":false},{"id":10482,"name":"Haptics","url":"https://www.academia.edu/Documents/in/Haptics?f_ri=2601","nofollow":false},{"id":13112,"name":"Music and Emotions","url":"https://www.academia.edu/Documents/in/Music_and_Emotions?f_ri=2601","nofollow":false},{"id":497719,"name":"Cross-modal Perception","url":"https://www.academia.edu/Documents/in/Cross-modal_Perception?f_ri=2601"},{"id":581433,"name":"Music and Mood","url":"https://www.academia.edu/Documents/in/Music_and_Mood?f_ri=2601"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11829484" data-work_id="11829484" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11829484/Opera_and_Film_an_Unlikely_Marriage">Opera and Film - an Unlikely Marriage</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The aim of the following study is to analyze the manner in which opera music influenced film and became a crucial building block of certain cinematic narratives, in such films as Jonathan Demme’s Philadephia (USA, 1993), Luc Besson’s The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11829484" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The aim of the following study is to analyze the manner in which opera music influenced film and became a crucial building block of certain cinematic narratives, in such films as Jonathan Demme’s Philadephia (USA, 1993), Luc Besson’s The Fifth Element (France, 1997) and Liliana Cavani’s Il portiere di notte/The Night Porter (Italy, 1974). By revealing the correspondence between these audiovisual mediums and examining the common language used by them we intent to reveal numerous facets of this symbiotic relationship, all put in the service of lending meaning to the film, thus making the viewer’s escapist adventure truly unique.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11829484" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3650bd49d866c38ce51c3c4b93766015" rel="nofollow" data-download="{"attachment_id":37233404,"asset_id":11829484,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37233404/download_file?st=MTczMjQzNjgyNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8385654" href="https://u-pec.academia.edu/JuliannaKopeczi">Julianna Kopeczi</a><script data-card-contents-for-user="8385654" type="text/json">{"id":8385654,"first_name":"Julianna","last_name":"Kopeczi","domain_name":"u-pec","page_name":"JuliannaKopeczi","display_name":"Julianna Kopeczi","profile_url":"https://u-pec.academia.edu/JuliannaKopeczi?f_ri=2601","photo":"https://0.academia-photos.com/8385654/20147634/19892092/s65_julianna.kopeczi.jpg"}</script></span></span></li><li class="js-paper-rank-work_11829484 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11829484"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11829484, container: ".js-paper-rank-work_11829484", }); 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$(".js-view-count[data-work-id=11829484]").text(description); $(".js-view-count-work_11829484").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11829484").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11829484"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4039" href="https://www.academia.edu/Documents/in/Opera">Opera</a>, <script data-card-contents-for-ri="4039" type="text/json">{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=2601","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="42298" href="https://www.academia.edu/Documents/in/Film_and_Media_Studies">Film and Media Studies</a><script data-card-contents-for-ri="42298" type="text/json">{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=2601","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11829484]'), work: {"id":11829484,"title":"Opera and Film - an Unlikely Marriage","created_at":"2015-04-07T07:46:49.746-07:00","url":"https://www.academia.edu/11829484/Opera_and_Film_an_Unlikely_Marriage?f_ri=2601","dom_id":"work_11829484","summary":"The aim of the following study is to analyze the manner in which opera music influenced film and became a crucial building block of certain cinematic narratives, in such films as Jonathan Demme’s Philadephia (USA, 1993), Luc Besson’s The Fifth Element (France, 1997) and Liliana Cavani’s Il portiere di notte/The Night Porter (Italy, 1974). By revealing the correspondence between these audiovisual mediums and examining the common language used by them we intent to reveal numerous facets of this symbiotic relationship, all put in the service of lending meaning to the film, thus making the viewer’s escapist adventure truly unique.","downloadable_attachments":[{"id":37233404,"asset_id":11829484,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8385654,"first_name":"Julianna","last_name":"Kopeczi","domain_name":"u-pec","page_name":"JuliannaKopeczi","display_name":"Julianna Kopeczi","profile_url":"https://u-pec.academia.edu/JuliannaKopeczi?f_ri=2601","photo":"https://0.academia-photos.com/8385654/20147634/19892092/s65_julianna.kopeczi.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2601","nofollow":false},{"id":2601,"name":"Film Music And 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