Journal articles on the topic 'Music and cinema'
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1
Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (1990): 2–14. http://dx.doi.org/10.2307/1212631.
2
Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (April 1990): 2–14. http://dx.doi.org/10.1525/fq.1990.43.3.04a00020.
3
Hubbert, Julia Bess. "Music and Cinema (review)." Notes 58, no. 2 (2001): 337–39. http://dx.doi.org/10.1353/not.2001.0202.
4
Powrie, Phil. "Music in French cinema." French Screen Studies 20, no. 3-4 (October 1, 2020): 151–57. http://dx.doi.org/10.1080/26438941.2020.1744342.
5
Humfrey, Peter, John G. Bernasconi, John Rosselli, Zygmunt G. Barański, and Robert Gordon. "ART, MUSIC & CINEMA." Italian Studies 48, no. 1 (January 1993): 125–32. http://dx.doi.org/10.1179/its.1993.48.1.125.
6
Rain, B. "RELEVANCE OF CLASSICAL MUSIC IN CINEMA MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3465.
Abstract:
Indian scholars have considered music to be a divine voice. This entire universe is subject to nad, and nad is called Brahm, because nad is everywhere. This entire universe is foolish. Naad is composed of Brahman, Brahman with word, word by sentence and sentence by song, so it can be said that Naad is the soul of music.Harsh, gaiety, zeal, it is the makeup of a person's life, when the person becomes weak by getting entangled in social bonds or problems, then the arts in which the work of replenishing power and passion is there, they are called fine arts and fine arts. Music is considered to be the highest in the world. It would not be an exaggeration to say that man and music have an integral relationship.
भारतीय विद्वानों ने संगीत को ईष्वरीय वाणी माना है। यह समस्त सृष्टि, नाद के अधीन है तथा नाद को ब्रह्म कहा गया है, क्योंकि नाद सर्वत्र व्याप्त है। यह सम्पूर्ण ब्रह्माण्ड ही नादमय है। नाद से ब्रह्म, ब्रह्म से शब्द, शब्द से वाक्य तथा वाक्य से गीत बनता है, अतः यह कहा जा सकता है कि नाद संगीत का प्राण है।हर्ष, उल्लास, उमंग, यह व्यक्ति के जीवन का श्रृंगार है, जब व्यक्ति सामाजिक बंधनों अथवा समस्याओं में उलझकर कमजोर होने लगता है, तब उसमें पुनः शक्ति तथा जोष भरने का कार्य जिन कलाओं में है, उन्हें ललित कलायें कहा जाता है और ललित कलाओं में संगीत का स्थान सर्वोच्च माना जाता है। यह कहना अतिष्योक्ति नहीं होगा कि मनुष्य तथा संगीत का अभिन्न सम्बन्ध है।8
7
Yunyk, Tetiana, and Mykola Tsarev. "Soundtrack in Modern Cinema." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 67–77. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235086.
Abstract:
The purpose of the research is to analyze popular examples of modern cinema music to determine the features of its interaction with various elements of screen text, taking into account the applied nature and applying various relevant approaches to the study of soundtracks. The research methodology consists in the application of a set of methods for theoretical analysis of film music, their interaction with internal and external factors of influence on the formation of the viewer’s image-emotional sphere in conditions of purposeful perception of the storyline of modern cinema. The scientific novelty lies in the fact that for the first time the peculiarities of the music functioning in modern cinema were analyzed, the main trends in the development of film music in the socio-cultural conditions of our time were revealed, and film music from the perspective of the viewer as a “non-ideal” evaluator of soundtracks in modern cinema was also considered. Conclusions. The article, using various methodological approaches, has proved that film music in the framework of interaction with screen text manifests itself as a significant tool, expanding the artistic space of the film. Film music can go beyond direct acoustic information, reflecting the narrative and conceptual components of the work of art as a whole. A practical example of the manifestation of modern film music is the use of timbral colours as an instrument for revealing the context of events, time, and the image of a hero; leitmotif; experiments with the technical side of sound through the expansion of the imaginary space of the screen. The main trends in the development of film music in the socio-cultural conditions of our time are due to the release of soundtracks beyond the boundaries of a practical film instrument. The modern soundtrack occupies a significant part of the cultural space of music and culture in general. This position is facilitated by the composer’s conceptual approach, the style integrity of the work and the relative independence of the soundtrack in the general cultural space. The rating of soundtracks is given by the audience and depends on their aesthetic preferences and the level of musical “experience”. Soundtracks must meet the requirements of modern cinema and common cultural space, which contributes to the success of the film.
8
Humfrey, Peter, Michael Bury, John G. Bernasconi, Iain Fenlon, Bojan Bujic, Christopher Cairns, Cecil H. Clough, Kate Flint, and Philip Cooke. "ARCHITECTURE, ART, MUSIC & CINEMA." Italian Studies 49, no. 1 (January 1994): 146–56. http://dx.doi.org/10.1179/its.1994.49.1.146.
9
Aditama, Muhammad Reza. "BIOSKOP DAN MASYARAKAT KOTA PALU, 1950-1998." Manaqib: Jurnal Sejarah Peradaban Islam dan Humaniora 1, no. 1 (December 7, 2022): 57–75. http://dx.doi.org/10.24239/manaqib.v1i1.1199.
Abstract:
This article aims to answer the following 3 questions: 1) How is the development of cinema in Palu City?; 2) How is the influence of cinema on the people of Palu City?; and 3) Why does the presence of cinema produce a new cultural identity in the people of Palu City? The problems in this article are solved using historical methodologies and anthropological approaches. The results of this study indicate that: 1) In the period between 1951-1990 the development of cinema was only in the form of an increase in number, then in 1991 there was one cinema that was different from previous cinemas so that it could create a discourse on traditional and modern cinema and the difference was the shape of the building, facilities, and film distribution network. However, without distinguishing between traditional and modern cinemas, all of them stopped operating at the end of 2000 because there were so many alternative media for film screenings; 2) Cinema as popular culture can increase and have an influence on the consumption of fashion, music, and especially films to the behavior of the people in Palu City; 3) Cinema, in the process of presenting a new cultural identity there are several phases in certain periods in society, namely initially only as popular culture (1951–1989), the second learning space (1984–1998), the third non-privacy space (1990–2000), then these three things become markers that cinema, which is only space, can form a new cultural identity in society.
10
Saini, Aarti. "Role of film music in the development of music in global perspective." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 5 (May 16, 2022): 158–61. http://dx.doi.org/10.31305/rrijm.2022.v07.i05.023.
Abstract:
Music is making its identity in the whole world today and international music conferences are also being organized at different places globally. Music is a medium of dissemination of cinema, civilization and culture. Music and film (cinema) have become a very powerful medium of global dissemination and promotion of Indian civilization and culture in the present times. Because we get glimpses of Indian identity in cinema and film music is very much liked in foreign countries. The concept of Indian civilization and culture is incomplete without music. Cinema is working as a bridge between our culture and foreign culture. Cinema is the carrier of brotherhood and universal brotherhood. To establish dialogue with world culture, Chitrapat has made immense efforts to display Indian cultural values and diversity on the international platform. Because of all the forms of entertainment in human history, film music is the pinnacle of them all. And by transcending the boundaries of the drama genre, cinema can accurately capture unimaginable cinematography. Movies like Avatar, Robot, Titanic present a very perfect example of this. Camera and imagination are amazing in these films.
Abstract in Hindi Language:
संगीत आज पूरे विश्व में अपनी पहचान बनाये हुए है और विश्व स्तर पर जगह जगह अंतर्राष्ट्रीय संगीत सम्मेलनों का आयोजन भी हो रहा है। संगीत सिनेमा, सभ्यता एवं संस्कृति के प्रसार का एक माध्यम संगीत है। संगीत और चित्रपट (सिनेमा) भारतीय सभ्यता एवं संस्कृति तीनों के ही वैश्विक प्रसार एवं प्रचार का वर्तमान समय में एक बहुत ही सशक्त माध्यम बन गया है। क्योंकि भारतीय अस्मिता की झलकिया हमें चित्रपट (सिनेमा) में मिलती है ओर चित्रपट संगीत को विदेशों में बहुत पसंद किया जाता है। भारतीय सभ्यता और संस्कृति की अवधारणा संगीत के बिना अधूरी है। हमारी संस्कृति और विदेशी संस्कृति के बीच चित्रपट (सिनेमा) एक सेतु का कम कर रहा है। चित्रपट भाईचारों और विश्व बंधुत्व का सवाहक है। विश्व संस्कृति से संवाद स्थापित करने के लिए चित्रपट ने अंतर्राष्ट्रीय मंच पर भारतीय संस्कृतिक मूल्यों एवं विविधता को प्रदर्शित करने का असीम प्रयास किया है। क्योंकि मानव इतिहास में मनोरंजन के सभी साधनों में चित्रपट संगीत उन सब से चरम उत्कर्ष है। और नाटक विधा की सीमाओं को लांघकर सिनेमा सटीक कल्पनातीत चलचित्रांकन कर सकता है। अवतार, रोबोट, टायटनिक जैसी फिल्मे इसका बहुत सटीक उदाहरण प्रस्तुत करती है। इन फिल्मों में कैमरा और कल्पनाओं का कमाल है।
Keywords: संगीत, सिनेमा, सभ्यता, संस्कृति
11
Leonard, Kendra Preston. "Imagining Women’s Archives of Silent Film Music." Feminist Media Histories 10, no. 2-3 (2024): 61–86. http://dx.doi.org/10.1525/fmh.2024.10.2-3.61.
Abstract:
Although women comprised the majority of American cinema accompanists during the silent film period (c. 1895–1927), few of their music libraries or compositions have survived, whereas collections created by male cinema musicians dominate the silent film music archives. Women musicians suggested, shaped, and helped define the musical tastes of the time; educated listeners; and showed how music could serve as a creative, narrative, and interpretative force in the cinema. I offer an accounting of extant collections by women accompanists and read their contents and contexts from a feminist perspective. Using hints and fragments found in letters, period trade journals, and catalogs, I then speculate on an imaginary archive, one that collects music composed or played by female silent film musicians whose work has been lost to us, but whose influence in the development of film music is unmistakable.
12
Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
Abstract:
During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
13
Jaiser, Gerhard. "Tense Harmony: Thai Cinema and Popular Music." Plaridel 15, no. 1 (June 2018): 55–66. http://dx.doi.org/10.52518/2018.15.1-04jaiser.
Abstract:
This paper follows the development of the special connection between Thai cinema and Thai popular music from the 1920s onward. The main argument is that the two dominant musical styles of luk krung and luk thung have become representative of different social groups within Thailand and that this diversification can also be found in Thai cinema. Luk thung, identified with the rural poor, was mostly rejected by producers and audience during the 1950s and 1960s. Only from the 1970s onward did a cinematic style that represented this sector of Thai society and culture develop. In this sense, one can view Thai cinema as an archive of Thai popular music.
14
Mettler, Peter. "Music in Film: Film as Music." Cinémas 3, no. 1 (March 8, 2011): 34–42. http://dx.doi.org/10.7202/1001178ar.
Abstract:
Film and music hae the same communicative capacity, according to Toronto filmmaker Peter Mettler. By adopting the musical rhythms and procedures as creative vectors, the filmmaker, who is also the camaraman and the editor, acquires the means to produce a cinema of the unconscious, of the intuitive, either with or without a narrative structure. Mettler describes his musical approach to film and its application in three of his features: Scissere (1982), Eastern Avenue (1985), and The Top of His Head (1990).
15
Okyay, Zeki, and Aydın Yeşilyurt. "Dramaturgical Film Analysis in Soviet Cinema: ‘My First Teacher (1965)’ and ‘Little Soldier (1972)’ Boy As the Movie Examples." Journal of International Civilization Studies 9, no. 1 (May 28, 2024): 35–51. http://dx.doi.org/10.58648/inciss.1457240.
Abstract:
The literary works of Chyngyz Aitmatov, who has an important place in the world literature, were adapted to the cinema for many times. As far as it can be accessed, the observation was that the dramaturgical analysis of these adaptations comparing Russian and Kyrgyz cinemas is missing. In the present research based on this absence, the film “My First Teacher” adapted by Russian director Andrey Konçalovskiy Mihailov and “Soldier Boy” adapted by Kyrgyz director Eldar Urazbayev were analysed dramaturgically in terms of “theme, society, economic and sociological background, discourse plane, opposites, narrative plane of the story, place and character design, perspective and plot, the climax of the movie, stage design (acting, sound, music etc.)” through the questions what kind of dramaturgical structure emerged when two literary works of a Kyrgyz author were adapted to the cinema by a 1) Soviet director and 2) a Kyrgyz director and 3) what dramaturgical similarities these two separate works have. In these films, My First Teacher and Soldier Boy, dramaturgical elements occupy a wide place, just like the majority of Aitmatov’s works adapted to the cinema. And these dramaturgical elements include “Soviet and Kyrgyz music tones, Epic of Manas, cultural items like calpack and qhopuz, plots in accordance with the casuality principle, conflicts between Bolshevism and traditionalism.”
16
Anyanwu, Obumneke S., and Emaeyak P. Sylvanus. "Music Production Technology in New Nollywood Soundtracks: Context, Application, and the Effect of Globalization." Music and the Moving Image 15, no. 1 (April 1, 2022): 22–37. http://dx.doi.org/10.5406/19407610.15.1.02.
Abstract:
Abstract New Nollywood refers to a segment of Nigerian cinema that began in 2012. The industry is based in Lagos and focuses on Hollywood-style approaches to film and film music. Generally, very little has been written about technologies in the film music of Nigerian cinema. This article is the first to focus explicitly on the impact of modern music production technology in New Nollywood soundtracks. Adopting descriptive as well as survey and historical methods of research, this article reveals what the specific and available technologies for film music in New Nollywood were and currently are; how the practitioners have employed them; as well as how the effects of such technologies have shaped the industry's cultural and economics choices. In addition to a review of the broad literature on cinema and film music, the methodology also relies on studio observation sessions with current industry practitioners as well as an analysis of the New Nollywood film The Bling Lagosians (2019). Taken together, findings reveal that the quality of New Nollywood film music is fluid and reflective of changes to the economic, cultural, and technological preferences of practitioners.
17
Azzam Gómez, Marcos. "Shostakovich / Stalin: A Different Type of Partnership in Film Music." Kieler Beiträge zur Filmmusikforschung 12 (July 7, 2023): 494–516. http://dx.doi.org/10.59056/kbzf.2016.12.p494-516.
Abstract:
Dmitri Shostakovich was one of the greatest 20th-century composers, although his style was »moderate« in comparison with other trends. The fact that he also composed a large amount of music for the cinema is often ignored or not given due importance. Our intention in this article is firstly to reflect on a specific stage of his musical and cinematographic career, in which, for different reasons, he was obliged to compose music for political and propagandist films in keeping with the values established by the Soviet government of the time and, in particular, films praising the figure of the »butcher-dictator« Iosif Stalin. We will try to understand and analyse these compositions from various viewpoints and, at the same time, the composer’s complex and problematical relationship with Stalin. We also go beyond the title of this article in our analysis of the main aspects of other stages of his compositions for the cinema, in addition to giving a reflective analysis of the reasons why his music for the cinema has scarcely been assessed and, in relating these reasons to the position to which general musicology has relegated music for the cinema, we aim to establish a series of conclusions on the subject.
18
Шолонич-Искуссникова, Ю. В. "“From Music to Cinema by Train: On the City Symphony in Cinema.”." Музыкальная академия, no. 4(784) (December 21, 2023): 62–69. http://dx.doi.org/10.34690/343.
Abstract:
Статья посвящена жанру симфонии большого города (city symphony) в кинематографе 1920-х годов. Неигровые фильмы, сосредоточенные на жизни мегаполисов, не столь давно — на рубеже 2000–2010-х годов — были выделены исследователями в отдельную категорию. Киноведы неоднократно отмечали влияние на их структуру и монтажные приемы музыкального жанра симфонии, однако развернутую аргументацию этого тезиса пока не представили. На примере немых фильмов Пола Стрэнда, Чарльза Шилера, Альберто Кавальканти, Вальтера Руттмана и Дзиги Вертова в статье предпринимается попытка подойти к анализу картин с музыковедческим инструментарием и выявить степень близости кинематографических произведений их музыкальным прообразам. Избранные фильмы сопоставлены с сочинениями крупнейших симфонистов XIX века по разным параметрам: программное содержание, деление на части, мотивная работа — развитие визуальных образов. The article is devoted to the genre of the city symphony in the cinematography of the 1920s. Non-fiction films focusing on the life of cities have been singled out by researchers as a separate category only at the turn of 2000–2010s. Film historians have repeatedly noted the influence of symphony on the structure and editing techniques of such films, but no detailed argumentation of this thesis has yet been presented. Using the example of films by Charles Sheeler, Paul Strand, Alberto Cavalcanti, Walter Ruttmann, Dziga Vertov, the article attempts to approach the musicological analysis of cinema and to reveal the degree of proximity between cinematic works and their musical prototype. The films are compared with works by major symphonists of the 19th century in terms of program, division into parts, and “motive” work—the development of visual images.
19
Abbate, Carolyn. "Wagner, Cinema, and Redemptive Glee." Opera Quarterly 21, no. 4 (2005): 597–611. http://dx.doi.org/10.1093/oq/kbi099.
20
Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (July 2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.
Abstract:
Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.
21
McNeill, Isabelle. "Music and spatial injustice in banlieue cinema." French Screen Studies 20, no. 3-4 (February 27, 2020): 317–35. http://dx.doi.org/10.1080/26438941.2020.1720949.
22
Giunta, Carrie. "Beyond the Soundtrack: representing music in cinema." Historical Journal of Film, Radio and Television 30, no. 1 (March 2010): 132–33. http://dx.doi.org/10.1080/01439680903577425.
23
O’Brien, Charles. "Recent books on music in French cinema." French Screen Studies 20, no. 3-4 (February 11, 2020): 336–40. http://dx.doi.org/10.1080/14715880.2019.1706145.
24
Egorova, Tatiana Konstantinovna. "Soviet Cinema Music. The Second Generation – Composers of the Sixties." Pan-Art 1, no. 2 (2021): 34–44. http://dx.doi.org/10.30853/pa20210008.
Abstract:
The paper attempts to analyse the results of the activities undertaken by the generation of composers of the Sixties in cinema. The aim of the study is to identify the specifics of the Soviet school of cinema music, the core of which included the brightest and most extraordinary representatives of the Russian musical avant-garde who achieved fame and world recognition in various fields of academic and experimental music of the post-war period. The scientific novelty lies in understanding, both in each specific case and in general patterns, the degree of mutual influence of cinema, focused on the perception of the mass audience, on the one hand, and the manifestations of creative individuality of the composers, on the other hand. As a result of the study, the author comes to the conclusion that due to the effective creative activities of the composers of the sixties, the tradition of cooperation of Soviet cinematographers with the most talented and highly professional musicians was preserved for several years, which would not allow the Soviet school of cinema music to descend to the level of standardised narrative soundtrack.
25
Pandey, Subodh, and Smriti Bhardwaj. "Cinema and Classical Music: An Unexplored Symbiotic Relationship." MediaSpace: DME Media Journal of Communication 3, no. 01 (January 31, 2023): 26–33. http://dx.doi.org/10.53361/dmejc.v3i01.06.
Abstract:
Classical Music has been popular amongst people and it has gone through several challenges. The media has been the carrier of music and entertainment to millions and billions of people across the world with India being no exception. Media, ever since its advent, has been responsible for expansion and popularity. This paper explores how the different mediums have been responsible for the popularity of classical music. Survey method is used to get answers to the research questions and the data is subjected to statistical analysis.
26
Voskolovich, Nina Aleksandrovna, and Evgeny Nikolaevich Zhiltsov. "Culture-Bound Items in the Formation of the Cinema Audiences." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 134–50. http://dx.doi.org/10.17816/vgik92134-150.
Abstract:
The article is devoted to the influence of economic, social, communicative and marketing factors on the audience and gives a cross-cultural analysis of consuming entertainment services including cinema attendance. Dwelling on the development of such film market segments as on-line cinemas, paid movie streaming, downloading films, games, music, etc.. which broaden the consumers choice and demonstrate the power of theatrical distribution competitors, the authors justify the use of marketing techniques (social network promotion, branding and co-branding programs, etc.) for enhancing the audiences commitment and loyalty.
27
Courage, Tamara, and Albert Elduque. "Performing the intermedial across Brazilian cinema." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 3–12. http://dx.doi.org/10.33178/alpha.19.01.
Abstract:
Intermediality as a theoretical and methodological perspective champions impurity. Overall, it is concerned with the interaction, contamination, and mixture between different media, breaking down existing barriers that currently exclude hybrid forms of artistic expression, which also inevitably exposes the limits of media specificity. Musical performance constitutes a privileged space to reflect on intermediality. It brings in not only music, but a mixture which includes literature, theatre, dancing and even painting and architecture. Music performance calls for all these artistic practices and articulates them through the song. Then, when it is filmed by a camera and recorded with microphones to be exhibited on a screen, new layers of meaning are added. This Alphaville issue is concerned with the performance of the intermedial in Brazilian cinema through music performance. It is an output of the project “Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method”, a shared endeavour by the University of Reading and the Federal University of São Carlos which was developed between 2015 and 2019, funded by the Arts and Humanities Research Council (AHRC) in the UK and the São Paulo Research Foundation (FAPESP) in Brazil
28
Isenberg, Noah. "Fatih Akin's Cinema of Intersections." Film Quarterly 64, no. 4 (2011): 53–61. http://dx.doi.org/10.1525/fq.2011.64.4.53.
Abstract:
A career survey of the work of Turkish German director Fatih Akin, whose films (notably The Edge of Heaven and Soul Kitchen) combine comedy with darker notes, emphasizing the theme of dual identity and paying particular attention to the use of music.
29
Kharchenko, POLINA. "Music in cinema and problems of synthesis of arts." Contemporary Art, no. 17 (November 30, 2021): 243–55. http://dx.doi.org/10.31500/2309-8813.17.2021.248469.
Abstract:
The article raises the issues of realization of the problems of synthesis of arts, in particular in its theoretical and practical aspects, which has been implemented in cinema from the initial stages of its development to the present. This highlights the stages of theory and practice that have become significant milestones in the formation of cinema as a synthetic art form. Throughout the period of the latter there were discussions about its nature, in particular the peculiarities of its spatio-temporal and semantic organization, the specifics and features of the ratio of certain structural components in creating the film’s drama, the basics of interaction and the ratio of its basic means of expression visual range. Due to the development of modern technologies of composition, as well as the evolution of means of recording music and the practice of further distribution of film music as an independent work of art, the problem of synthesis in film has become acute at a new, insufficiently studied level. As a result of the study, important milestones in the history of the evolution of cinema in terms of synthesis of its main structural components, including screen image and music. Based on the analysis of the specifics of the synthetic interaction of the latter in the construction of dramaturgy of films, identified and characterized their implementation in various models of the relationship between music and visual series in cinema. The nature of cinema determines its specificity as a synthetic art form, but the characteristics and foundations of the interaction of its main means of expression are discursive. The ratio of traditional, ancient artistic languages, which have independent, developed semantics and principles of structural organization, require filmmakers to solve the problem of their synthesis in the construction of artistic concept, the general drama of films.
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Gorbolis, Larysa M., and Anna Ye Chernysh. "ARTISTIC TRINITY: LITERATURE – CINEMA – MUSIC (THE FILM “EARTH” BY O. DOVZHENKO)." Alfred Nobel University Journal of Philology 2, no. 26/2 (December 26, 2023): 238–52. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-15.
Abstract:
The purpose of the article is to reveal the ideological, thematic, descriptive, intonation-rhythmic consonance of the musical accompaniment of the band “DakhaBrakha” with the film and film story by O. Dovzhenko. The article highlights the role of musical accompaniment in the restored 2012 version of the film “Earth” by the famous Ukrainian director of the twentieth century O. Dovzhenko. This is the first study in which, through the comprehension of the trinity of the samples of music, cinema, and literature, new meanings are revealed in musical compositions and the film, the relevance of the raised existential problems is expressed, the ethnic basis of the concept of characters and the works of art chosen for the analysis as a whole are indicated. The corpus of methods was applied in the research: the cultural-historical method contributed to the understanding of the place, role, and meaning of film, music, and literary texts in contemporary artistic realities; the intermedial approach helped in identifying and characterizing the common, different and peculiar in the pictorial, mood, ideological and thematic, content filling of scenes, micro-episodes, symbolic images and details in samples belonging to various types of arts; the hermeneutic method is applied to reveal and interpret the traditional and innovative in stylistic specificity of the ethno-chaos performance of the “DakhaBrakha” band. Based on the cultural and historical method, the hermeneutic method, and the intermedial approach in the research it was emphasized that the instruments (accordion, drum, cello, ratchet, etc.) involved by the DakhaBrakha musical group, their tonality, rhythm, as well as the Ukrainian folklore samples involved in the content plan contributed to the effective depiction of various states of the main and secondary characters (joy, grief, concentration, sadness, thoughtfulness, etc.), the moods of the peasants, interpersonal relationships, emphasizing the character traits of Ukrainian heroes, hereditary farmers, their natural desire to work on the land and thus self-actualize. The article remarked on the role of pauses in the reflection of emotionally capacious, conceptually important film episodes, micro-episodes, and scenes, enhanced by demonstrative cinematic techniques. The trinity of music, cinematic material, and literary work in the construction of characters and perfect plot layout is emphasized. The musical design of the film “Earth” by O. Dovzhenko, carried out by the ethnic-chaos DakhaBrakha group, accentuates the national selfhood of the Ukrainian character, even though the film tells about collectivization, the purposeful policy of the then Soviet government (the 30s of the twentieth century) to destroy the private property of Ukrainians, to negate the feeling of the owner composed over the centuries. Skillfully combined traditional and innovative stylistic specificity of performing skills of the ethnic-chaos group “DakhaBrakha” contribute to the identification of subtexts, codes for the interpretation of the content of works, actual existential problems, and national originality of the characters. The order, tempo of the musical performance as well as the visual content, that was thought out by the authors of the film, form the musical leading motif of the movie and deepen the understanding of the subtext, symbolic accents of the literary work, emphasize the features of the artistic presentation of the land problem with the help of expressive images of sunflowers, gardens, steppes, fields, oxen, etc. There are a music tempo-rhythmic and tonal-emotional support of frames in the film, that as well performs a peculiar function of sound illustration in the corresponding episodes of the literary text, thus giving the images of main characters and minor characters dynamics and expression. The musical drama of the film “Earth”, audio visualization of the main and secondary characters, repetition, the collision of frames with different plans, landscapes, and the specifics of their location in the frames emphasize the problematic of the literary work, contribute to the multifaceted images of heroes in the literary work and in the film, enhance the understanding of the conflicts (intra-frame, interpersonal, worldview, etc.), testify to the ideological-thematic, compositional, pictorial, emotional-semantic unity of musical, cinematographic and literary texts.
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Ryzhinskiy, Aleksander S., and Grigoriy R. Konson. "Alliance of Cinema and Music: the First KINOREX Film Music Festival in the Context of Interaction between Music and Cinema in the Early 21st Century." Art and Science of Television 17, no. 4 (2021): 174–217. http://dx.doi.org/10.30628/1994-9529-2021-17.4-174-217.
Abstract:
Professor of the Moscow Institute of Physics and Technology Grigoriy R. Konson interviews the rector of the Gnesins Russian Academy of Music, professor Aleksander S. Ryzhinskiy. The interview focuses on how film directors and composers see the role of music in films, with music considered as a twofold phenomenon: film score as such and film scores presented at the First KINOREX Film Music Festival. In the preamble, the interlocutors review current trends in film music. In this vein, they touch upon the psychological concept of the French cinematography, interpretation of the Indian song tradition in endowing films with musicality, Baroque music and modern performance practices applied in the 20th century cinema dramaturgy, the Hollywood way of soundtrack composition as a dominating model in the world cinema, and studies devoted to the works of Alfred Schnittke and Thomas Newman. Based on these examples, the interlocutors come to the conclusion that at the heart of different approaches to the film music composition there must be an organic commonality of views of the film director and the composer. Beyond that, a binding force in the process is the reliance on classical traditions of their artistic interaction: expressing the very essence of a film’s drama through music. The discussion of the First KINOREX Film Music Festival, which was held by the Gnesins Russian Academy of Music in April 2021, naturally fits into this humanistic concept. Analyzing the winning project created by director Nadezhda Shibalova and composer Nikita Yamov, the authors of the interview come to the conclusion that the musical fabric of the screen work reveals the fundamental role of music as an analogue of the film’s ethical idea, which increases the cognitive capacity of the content.
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Sedlovskiy, Anatoliy Anatolievich. "Space in Art and Cinema." Journal of Flm Arts and Film Studies 3, no. 2 (May 15, 2011): 58–64. http://dx.doi.org/10.17816/vgik3258-64.
Abstract:
Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.
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Tieber, Claus, and Anna K. Windisch. "A highly creative endeavour: Interview with musicologist and silent film pianist Martin Marks." Soundtrack 12, no. 1 (November 1, 2020): 61–77. http://dx.doi.org/10.1386/ts_00012_7.
Abstract:
Martin Marks holds an almost unique position to talk about silent film music: he is a scholarly musician and musical scholar. Besides his canonical book on the history of silent film music (1997), he has been playing piano accompaniments for silent films regularly for nearly four decades. In this interview we asked Martin about the challenges and complexities of choosing and creating music to accompany musical numbers in silent cinema. Martin relates how he detects musical numbers and he expounds his decision-making process on how to treat them. His explanations are interspersed with engaging examples from his practical work and based on both his scholarly knowledge and on his musical intelligence. He talks about the use of pre-existing music as well as about anachronisms in choosing music written many decades after a film was first released. In sum, this interview delivers detailed and informed insights into the difficulties and pleasures of accompanying musical numbers or other types of diegetic music in silent cinema.
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Justice, Deborah. "When Church and Cinema Combine: Blurring Boundaries through Media-savvy Evangelicalism." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 84–119. http://dx.doi.org/10.1163/21659214-90000042.
Abstract:
The use of social media presents new religious groups with opportunities to assert themselves in contrast to established religious institutions. Intersections of church and cinema form a central part of this phenomenon. On one hand, many churches embrace digital media, from Hollywood clips in sermons to sermons delivered entirely via video feed. Similarly and overlapping with this use of media, churches in cinemas have emerged around the world as a new form of Sunday morning worship. This paper investigates intersections of church and cinema through case studies of two representative congregations. CityChurch, in Würzburg, Germany, is a free evangelical faith community that meets in a downtown Cineplex for Sunday worship. LCBC (Lives Changed by Christ) is one of the largest multi-sited megachurches on the American East Coast. While LCBC’s main campus offers live preaching, sermons are digitally streamed to the rest. Both CityChurch and LCBC exemplify growing numbers of faith communities that rely on popular musical and social media to 1) redefine local and global religious relationships and 2) claim identity as both culturally alternative and spiritually authentic. By engaging with international flows of worship music, films, and viral internet sensations, new media-centered faith communities like CityChurch and LCBC reconfigure established sacred soundscapes. CityChurch’s use of music and media strategically differentiates the congregation from neighboring traditional forms of German Christianity while strengthening connections to the imagined global evangelical community. LCBC creates what cultural geographer Justin Wilford dubs a “postsuburban sacrality” that carves out meaning from the banality of strip-mall-studded suburban existence. Analyzing the dynamics of music and media in these new worship spaces assumes growing importance as transnational music and media choices play an increasingly a central role in locally differentiating emergent worship communities from historically hegemonic religious neighbors.
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Poulakis, Nick, and Christina Stamatatou. "Music, Documentaries and Globalization." Popular Music Research Today: Revista Online de Divulgación Musicológica 4, no. 2 (February 7, 2023): 7–21. http://dx.doi.org/10.14201/pmrt.30166.
Abstract:
This paper deals with the relationship between sound and image as expressed in the cinematic genre of music documentary. In particular, it tries to explore the way in which musical cultures are audiovisually expressed through filmic representation of music performances and artists/groups portraits. By applying a critical and comparative approach, the films Buena Vista Social Club (1999) and Café de los Maestros (2008) become vehicles to investigate images and sounds of music in everyday life, with an emphasis on the impact of globalization and commercialization during their creation and interpretation procedures. The focus is on the commercial exploitation of these films in the context of world capitalism and the way in which it influences the construction of visual representations of non-European musical cultures and identities, as cultural industry shares today a comparable postmodern situation through the concepts of “world music” and “world cinema”. In this light, the paper discusses Latin American (Cuban and Argentine) identities and local music cultures which spread internationally via films and gain a place in the global music scene. Consequently, it points towards issues of authenticity, nostalgia, exoticism, hybridity, folklorization, and the Western domination upon musics as well as films.
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Golding, Dan. "Finding Untitled Goose Game’s Dynamic Music in the World of Silent Cinema." Journal of Sound and Music in Games 2, no. 1 (January 1, 2021): 1–16. http://dx.doi.org/10.1525/jsmg.2021.2.1.1.
Abstract:
There are three unusual things about Untitled Goose Game’s music. First, for an independent video game produced by a small studio, the music is dynamic and reactive to a high degree. The game uses pre-recorded, non-generative musical performances and yet will respond to onscreen events within a buffer of only a few seconds at maximum. Second, the music takes inspiration not from other dynamic music systems in video games but from the varying practices of musical accompaniment for silent cinema and early comedy, aiming to replicate affect rather than process. Finally, the music for Untitled Goose Game takes the unusual step of adapting pre-existing classical music from the public domain—in this case, six of Claude Debussy’s Préludes for solo piano—rather than creating an original score intended from its conception to be dynamic. Accordingly, this article outlines the dynamic music system at work in Untitled Goose Game and the influence drawn on for this system from non–video game approaches to musical accompaniment. The article discusses the varying practices for music for the silent era of cinema, the theoretical frameworks used to conceptualize these many divergent approaches, and how closely we might recognize their legacy at work in Untitled Goose Game’s soundtrack. Ultimately, this article argues that by looking to approaches beyond more familiar debates about dynamic music for video games, Untitled Goose Game helped shortcut familiar problems that confront developers and composers when working with dynamic and reactive music.
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Alunno, Marco. "Cinema and Music (1937) by Ignacio Isaza Martínez." Music, Sound, and the Moving Image 8, no. 1 (April 2014): 87–92. http://dx.doi.org/10.3828/msmi.2014.4.
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Харченко, Поліна. "Principles of Functional Classification of Music in Cinema." Artistic Culture. Topical Issues, no. 16 (June 11, 2020): 179–88. http://dx.doi.org/10.31500/1992-5514.16.2020.205257.
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Marghitu, Stefania. "Music, Sound and Filmmakers: Sonic Style in Cinema." Popular Music and Society 37, no. 3 (July 22, 2013): 376–79. http://dx.doi.org/10.1080/03007766.2013.821745.
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Mengouchi, Meryem. "Jewish Community in Maghrebi Art (Music and Cinema)." Revue plurilingue : Études des Langues, Littératures et Cultures 6, no. 1 (December 29, 2022): 109–17. http://dx.doi.org/10.46325/ellic.v6i1.83.
Abstract:
The idea of a Jewish-Muslim community sounds odd in the twenty-first century while a few decades earlier it was an ordinary phenomenon in the Maghreb countries. The Jewish community who lived in North Africa before the conflict of the middle east yearns for a return to Maghreb countries which they consider as their home and part of their identity. This paper exposes the cohabitation of the two communities duing the colonial period. The reasons of the success of cohabitation are to be explored briefly with a small theoretical interpretation. Jews today are rejected in North African countries but history witnesses the existence of a Maghrebi Jewish community which is discussed in two cases in this research work, the first one is the case of Algerian Châabi music performed by Jewish artists, and Tunisian film Un Été a la Goulette, which shows three families from the three religions living together. Finally an analysis of the reasons is conducted to find out whether the reason of such cleavage is cultural or political. Throughout the analysis it is argued that this cohabitation broke the rules of sameness set by the colonizer in both countries. Problems between the two social groups arose after the naturalization of the Jews during the French colonization of Algeria then the invention of the country of Israel. The film depicts Tunisia as a melting pot of different cultures which manage to live together peacefully. The phenomenon is explained using the concept of the Carnivalesque by Russian philosopher Mikhail Bakhtin thus referring such harmony to the impact of segregation imposed by the colonizer. The analysis of whether the conflict is political or religious includes arguments by scholars like Benjamin Stora. Résumé L'idée d'une communauté judéo-musulmane semble étrange au XXIe siècle alors que quelques décennies plus tôt c'était un phénomène banal dans les pays du Maghreb. La communauté juive qui vivait en Afrique du Nord avant le conflit du Moyen-Orient aspire à un retour dans les pays du Maghreb qu'elle considère comme sa patrie et faisant partie de son identité. Cet article expose la cohabitation des deux communautés durant la période coloniale. Les raisons du succès de la cohabitation sont à explorer brièvement avec une petite interprétation théorique. Les Juifs sont aujourd'hui rejetés dans les pays d'Afrique du Nord mais l'histoire témoigne de l'existence d'une communauté juive maghrébine qui est abordée dans deux cas dans ce travail de recherche, le premier est le cas de la musique algérienne Châabi interprétée par des artistes juifs, et du film tunisien Un Été a la Goulette, qui montre trois familles des trois religions vivant ensemble. Enfin une analyse des raisons est menée pour savoir si la raison d'un tel clivage est culturelle ou politique. Tout au long de l'analyse, il est avancé que cette cohabitation a enfreint les règles d'uniformité établies par le colonisateur dans les deux pays. Des problèmes entre les deux groupes sociaux sont apparus après la naturalisation des Juifs lors de la colonisation française de l'Algérie puis de l'invention du pays d'Israël. Le film dépeint la Tunisie comme un creuset de cultures différentes qui parviennent à cohabiter sereinement. Le phénomène est expliqué à l'aide du concept du Carnivalesque par le philosophe russe Mikhaïl Bakhtine référant ainsi cette harmonie à l'impact de la ségrégation imposée par le colonisateur. L'analyse de savoir si le conflit est politique ou religieux comprend des arguments d'érudits comme Benjamin Stora.
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Mikheeva, Julia V. "Music of the Cinema of the “New Sincerity”." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 140–49. http://dx.doi.org/10.56620/2782-3598.2023.2.140-149.
Abstract:
The article presents the basic principles and features of the cinema of the “new sincerity”, which asserted itself in the 1980s and reflected an important trend of modern artistic and philosophical-aesthetic thought in the form of a departure from postmodern irony. At the same time, an important “methodological” approach for a creator of a work of art in this direction is to find a balance between sincerity and irony. A significant example of finding such a balance is the work of Finnish film producer Aki Kaurismäki. The article presents a sound analysis of the three of the most famous films that are the most representative of the producer’s style, classified by critics as the so-called “proletarian trilogy” — Shadows in Paradise (1986), Ariel (1988) and The Girl from the Match Factory (1990). In these films, Kaurismäki’s musical “lexicon” is, likewise, crystallized, presenting an original, diverse and, at the same time, surprisingly organic set of “identifying signs” of the musical atmosphere of his movies. An analysis of the features of the functioning role of the music in Aki Kaurismäki’s films (both as presented in the text and as remaining outside it) makes it possible for us to arrive at the following conclusions: the musical accompaniment of an episode of a film creates an opportunity for an indirect, often subtly ironic, but, nonetheless, sincere author’s statement, without a straightforward voicing of the meaning of the intra-frame action; a conscious personal choice of the musical material (both the musical quotations and the original compositions), combined with the visuals, contributes to the creation of polysemantic (intertextual) audiovisual images; the relationship of the film’s music with the producer’s off-screen world presents one of the important principles and an effective way of manifesting “new sincerity” in cinema, simultaneously contributing to the creation of unique artistic screen images; the use of a personal “musical lexicon” contributes to the development of the author’s artistic style in filmmaking, one manifestation of which is bringing in musical meta-quotations that stylistically unify the producer’s various films.
42
Kershaw, David, and Theodore van Houten. "Silent Cinema Music in the Netherlands: The Eyl/Van Houten Collection of Film and Cinema Music in the Nederlands Filmmuseum." Notes 51, no. 1 (September 1994): 154. http://dx.doi.org/10.2307/899211.
43
Lehnert, Sigrun. "Musik als Mittel der ›Propaganda‹ in der Filmberichterstattung 1950–1965 (West-Ost)." Kieler Beiträge zur Filmmusikforschung 17 (September 4, 2023): 31–60. http://dx.doi.org/10.59056/kbzf.2023.17.p31-60.
Abstract:
Although the newsreel was only shown as a part of the interludes in the cinemas and thus represented a marginal part of the cinema evening, the producers and state institutions were convinced of its effect. Under the National Socialists, the newsreel served purely as a propaganda tool and the background music was designed to achieve this effect. But agitation was not the concern of the post-war newsreel – also in consideration of the generation of the audience that still hear the intrusive dramatising sounds of the Nazi newsreel ›in their ears‹. In the post-war period, the message had to be conveyed more subtly. Music in perfect harmony with montage and commentary lent itself to underlining political convictions or criticism and conveying ironic allusions. Unmelodic phrases and ›off-key‹ tones were enough, for example, to suggest that an action was illegitimate. Music was not only used to accompany images, but also to document, for example, performances by international jazz greats in the socialist state of the GDR. With music, the Iron Curtain seemed to become ›permeable‹.
44
Shih, Shu-Mei. "World Studies and Relational Comparison." PMLA/Publications of the Modern Language Association of America 130, no. 2 (March 2015): 430–38. http://dx.doi.org/10.1632/pmla.2015.130.2.430.
Abstract:
A new kind of world studies is emerging. This is a world studies 2.0, since some forms of world studies, such as world literature, world music, and world cinema, have existed for some years in the humanities. These categories have been more narrowly defined and refer to literature, music, and cinema from places other than the West—that is, “the rest,” as seen from the West. In this vein, world literature has sometimes been euphemistically called “literature of the world at large,” conjuring a chase, if only halfhearted, after a world that somehow slipped away: at large.
45
Yeung, Lorraine. "Spectator Engagement and the Body." Film Studies 15, no. 1 (2016): 81–96. http://dx.doi.org/10.7227/fs.0002.
Abstract:
This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.
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Каталикова, Ольга Яковлевна. "Grand Piano-the Audiovisual Hero of the Soviet Cinema Screen." Музыкальная академия, no. 3(775) (September 27, 2021): 198–210. http://dx.doi.org/10.34690/189.
Abstract:
Статья посвящена особым случаям использования фортепиано в советской киномузыке: не только в составе партитуры, но и как непосредственного «участника» экранного действия. Обычно это происходит в фильмах революционной и исторической тематики, а также в экранизациях русской классики. Среди множества картин, где рояль появляется на экране, нужно выделить ряд шедевров, в которых введение его отмечено уникальными решениями. В статье рассмотрены примеры из фильмов «Новый Вавилон» (музыка Д. Шостаковича), «Строгий юноша» (музыка Г. Попова), «Веселые ребята» (музыка И. Дунаевского). The article is devoted to special cases of the use of the piano in Soviet film music: not only as part of the score, but also as a direct “participant” of the screen action. This usually happens in films with revolutionary and historical themes, as well as in film adaptations of Russian literary classics in scenes of home music. However, among the many films where the instrument appears on the screen, it is necessary to note a number of absolute masterpieces in which the use of the piano is marked by unique solutions. The article considers examples of this kind from the films “New Babylon” (music by D. Shostakovich) “A Strict Young Man” (music by G. Popov), “Funny Guys” (music by I. Dunaevsky).
47
MacDonald, Michael, and João Lima. "Devemos apelidá-los de estudos cine-culturais? O cine-mundificar da música popular e dos estudos juvenis." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 5, no. 1 (2022): 10–34. http://dx.doi.org/10.21747/21843805/tav5n1a1.
Abstract:
This article explorescinematic research-creation, or what I call cine-worlding. Indeed, ccine-worlding has the potential to contribute to a research practice unique to popular music and youth studies, areas of cultural life characterised by their openness and innovation with new media. Being aware of these opportunities means taking advantage of the technologies currently available. But there is an obstacle. Cinematic production must come together with research. Traditional cinematic research methods, due to their costs, difficulties with peer review and lack of institutional support, have not been accepted by academia. It has been anthropology that has done the most to develop cinematic research through ethnographic film. New developments in the digital cinema ecosystem have been little explored so far. The digital cinema ecosystem, emerging since 2009, consists of relatively cheap digital cameras and smartphones, free professional-grade digital platforms, a worldwide network of film festivals and the transformation of most art-house cinemas into digital screenings. This means that digital cinema made on a laptop can be shown anywhere. We are at the best possible moment for academic filmmaking, but then why do academics do so little of it?
48
Piccardi, Carlo, Gillian Anderson, Lidia Bagnoli, and Lauren Gregor. "Pierrot at the Cinema: The Musical Common Denominator from Pantomime to Film, Part II." Music and the Moving Image 2, no. 2 (July 1, 2009): 7–23. http://dx.doi.org/10.5406/musimoviimag.2.2.0007.
Abstract:
Abstract Having noted similar theoretical issues and challenges in the setting of music for pantomime and for film, Carlo Piccardi collected an exhaustive list of early theoretical comments, reactions, and descriptions about the issue. In part I, in Music and the Moving Image, volume 1, number 2, extensive quotes by Jacques de Baroncelli, Paul Huguonet, Alice Orient, Jeanne Ronsay, and Émile Jaques-Dalcroze (among many others) demonstrated the similarities between the development of music for pantomime and that for dance and cinema, and cinema music’s connection to the futurist movement. In part II, we have observations and ruminations by Ricciotto Canudo and Sebastiano Arturo Luciani. It is astonishing to read comments written almost a hundred years ago that reflect on issues that are still very much with us today. —Gillian Anderson
49
Rusinova, Elena A., and Elizaveta M. Habchuk. "The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 92–105. http://dx.doi.org/10.17816/vgik10192-105.
Abstract:
For a long time, Japanese cinema has been developing separately, mastering the specifics of the new art, which came from the West, and at the same time trying to solve within its framework the problem of "national identity". However, since the 1950s, Japanese cinema has become widely known abroad and is gaining recognition in the West. The present day no one doubts the huge contribution of Japanese filmmakers to the history of world cinema. Nevertheless, the study of Japanese cinema in Russian cinema theory still remains the prerogative of a few professionals who know the Japanese language and are closely acquainted with the Japanese mentality, culture and art, which exert a great influence on the artistic features of Japanese screen art. But in order to even more imbued with the originality of the approach to creating an artistic image in Japanese cinema, it is necessary to draw attention to one of the most important components of its structure, namely, the sound aspect, insufficiently studied in film theory. The novelty of the article is that it analyzes and classifies the sound features of some Japanese movies created in the second half of the 20th - beginning of the 21st centuries, in which the influence of traditional culture manifests itself quite clearly, but at the same time the presence of elements of the Western musical tradition is also noticeable, which reflects to a certain extent the process of transculturalism in cinema that is actual nowadays.
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Lapedis, Hilary. "Popping the question: the function and effect of popular music in cinema." Popular Music 18, no. 3 (October 1999): 367–79. http://dx.doi.org/10.1017/s0261143000008928.
Abstract:
Claudia Gorbman, in her afterword to Unheard Melodies, looks forward to the ‘new’ phenomenon of the increased use of recorded popular music in the movies. She questions whether the contemporary use of popular music is essentially different from its use in the traditional Hollywood musical, wherein conventional practice permits a musical number to disrupt the narrative flow, and answers that ‘a hybrid is emerging, unlike diegetic music which is normally not listened to, and also not as focused as musical numbers issuing from the magic world of the musical’ (Gorbman 1987, p.162). Certainly, the music video, as Gorbman admits, in its ‘kaleidoscope of forms’ (ibid.) is changing the relationship between visuals and music, so that there is no longer a habitual hierarchy of sound supporting image, or vice versa. It is this shifting relationship and the way in which pop music specifically operates upon the narrative structure of cinema that I wish to explore here.