“I am what I am. I am my own special creation”. The trans-genre soundtrack of Paris Is Burning
Cinergie, 2020 The purpose of this essay is to highlight and comment on the importance of musical presence within Jennie Livingston's documentary film Paris is Burning (1990), a pivotal film of the cinematographic moment of New Queer Cinema.
Costanza Rovetta
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Portrayals of gender and identity in the soundtrack of The Witcher 3: Wild Hunt
Fields, 2022 The Witcher 3: Wild Hunt (CD Projekt Red, 2019) is an award-winning role-playing video game (RPG); the third instalment of The Witcher game series inspired by Polish author Andrzej Sapkowski’s fantasy novels. Centring upon the protagonist Geralt of Rivia,
Cerys Elizabeth Eckersley
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The musicalized soundtracks of Armadillo. Emotional realism and real emotions
SoundEffects, 2012 “To you it’s film, to them it’s reality” is the translated poster headline of the Danish war documentary Armadillo (Janus Metz, May 2010), a much-debated Cannes award-winning film that follows Danish soldiers stationed in Afghanistan.
Iben Have
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Dramatic Function of Soundtrack Film Message Model
مجلة فنون البصرةThe soundtrack was characterized by a dramatic function that played an essential role in building the cinematic and dramatic landscape and centered on how to support and support the event and film scene with multiple and varied functions in the (message
Qays Oudah Qasim
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More Beautiful Areas: Performativity and Presence in the Integrated Soundtrack
Alphaville: Journal of Film and Screen MediaIn 2019, I presented a paper at a conference in NUI Maynooth, Ireland that used Kevin Donnelly’s notion of the soundtrack as spectre as the starting point for discussing performativity and presence in the films of Russian director Andrey Zvyagintsev ...
Adam Melvin
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Beyond the Margins: Lynne Ramsay’s Ratcatcher (1999) and Morvern Callar (2002)
Miranda: Revue Pluridisciplinaire du Monde Anglophone, 2016 So bleak is Scottish cinematic history in terms of women directors that Lynne Ramsay’s award-winning Ratcatcher (1999) was only the second Scottish feature directed by a woman.
Kristine Robbyn Chick
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Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis. An Introduction
Miranda: Revue Pluridisciplinaire du Monde Anglophone, 2021 Comprised of eight articles that focus on mainstream and even independent cinema from the silent era to the 21st century, this issue explores the creative possibilities of music in US-American cinema and aims to contribute to a renewal of methodological ...
Céline Murillo, David Roche
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Psycho and The Orchestration of Anxiety [PDF]
, 2010 Since its release in 1960, Alfred Hitchcock’s Psycho has entered the consciousness of our culture as have few other films. Its striking imagery, combined with its universally recognised score, has prompted a wealth of scholarly output.
Deutsch, Stephen
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Angels, Guests and Sadists: On-Screen Poetry in the Cinema of Pier Paolo Pasolini
Film-Philosophy, 2023 This article considers how poetry features in Pasolini’s cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality.
Thomas Allen
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The soundtrack to the film as a special type product placement (Саундтрек у кінопродукції як особливий вид product placement) [PDF]
, 2012 Product Placement was analized: its peculiarities and species, including the soundtrack to the film. Concept of «soundtrack» and its relation to Product Placement were substantiated too.
Дарда, С. (S. Darda) +1 more
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