How has this person’s work pushed the boundaries of conventional screen sound and music practice, and what specific techniques have they deployed to craft new sonic constellations or relationships between images and sound/music?
June 8, 2021 Comments Off on How has this person’s work pushed the boundaries of conventional screen sound and music practice, and what specific techniques have they deployed to craft new sonic constellations or relationships between images and sound/music? Uncategorized Assignment-help
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Assessment details
There are 11 questions. Choose it from them.
Choose one of the following questions and write a research essay in response.
In your essay, you must present a thesis (or scholarly argument) supported by textual analysis and research in response to your selected question.
From ‘watching Netflix’ to ‘seeing a movie’, the fundamental ways that we talk and think about the moving image in our culture are framed visually. This is often also reinforced at a scholarly level, with significant works in cinema and television studies focussing largely on the visual elements of each medium. But are film and/or television primarily visual media? In your response, focus on one text, director, composer, or sound editor.
Michel Chion has developed a number of key theories articulating how screen sound and music relate to images, such as the “acousmetre” and “en creux” (or “sound in the gap”). How do such theories help us to reconceptualise the relationships between screen sound and images? In your response, choose at least two of Chion’s concepts, and ensure you apply the concepts to film/television examples to illustrate how they work in practice.
For many, The Jazz Singer (1927) was the moment where cinema gained its voice. But was silent cinema truly silent before this moment? For your essay, outline and analyse the various practices of sound in the cinema prior to 1927. What ramifications for understanding film history do the presence of these practices have?
In Composing for the Films (1947), Theodor Adorno and Hanns Eisler write that “leitmotif has been reduced to the level of a musical lackey, who announces his master with an important air,” and that accordingly, film music “interprets the meaning of the action for the less intelligent members of the audience.” Do you agree with Adorno and Eisler’s critique of leitmotif in film music? Respond using at least one film score as a text for analysis.
Each film genre has a distinctive “sonic identity”: shared sonic conventions and practices across both sound design and music composition that function in parallel with a genre’s visual iconography. For your essay, analyse and outline the “sonic identity” of the film genre/s of your choice in response to one of the following questions.
a) Has this genre’s sonic identity remained consistent over time, or have there been major changes in sonic conventions as the genre has developed?
b) Compare and contrast the sonic identities of two film genres. Are their sonic identities significantly distinct from each other, or are there some shared conventions and techniques between the genres?
Choose a composer, filmmaker, or sound designer who has experimented with screen music composition and/or sound design techniques. How has this person’s work pushed the boundaries of conventional screen sound and music practice, and what specific techniques have they deployed to craft new sonic constellations or relationships between images and sound/music? You may also choose to write about a creative team rather than an individual (for instance, Maya Deren and Teiji Ito; Wendy Carlos, Rachel Elkind, and/or Stanley Kubrick; David Lynch, Alan Splet, and/or Peter Ivers, and/or Angelo Badalamenti).
In recent years, some composers have argued that film music has become aligned with sound design as a practice, and has even become subsumed within it. In particular this has coincided with the ubiquity of digital tools and virtual instruments among composers. Can we still see contemporary film music as its own distinct form of film practice?
According to Alexander Galloway, “If photographs are images, and films are moving images, then video games are actions.” Music for videogames accordingly is tied up with questions of player action and interactivity, though also still inspired by the history and legacy of music for film and television. How is videogame music different to music for these other forms? In your response, focus on one or two key videogames as texts.
How do transnational screen sound practices – such as dubbing and subtitling – involve both product–Message truncated–
Reyland, Nicholas. 2012. “The Beginnings of a Beautiful Friendship?: Music Narratology and Screen Music Studies” Music, Sound & the Moving Image. 6(1): 55-71. Read online (Links to an external site.).
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