Sound and Epistemology in Film
01 Sep 1989-The Journal of Aesthetics and Art Criticism (Oxford University Press (OUP))-Vol. 47, Iss: 4, pp 311-324
About: This article is published in The Journal of Aesthetics and Art Criticism.The article was published on 1989-09-01. It has received 32 citations till now. The article focuses on the topics: Sound (geography).
05 Sep 2007
01 Jan 2003
01 Jan 2013
TL;DR: In this article, a Jungian psychological account of the music-image is presented, and the authors attempt to combine theory with practice in analysing how the auditory image (mainly music) works (or sometimes clashes) with the visual (picture) to create the film as a whole experience.
Abstract: Sound and music, both independently and inside film are sometimes considered to be secondary to the visual. Some disciplines wish to classify them as triggers to neurological systems while some others will emphasise their affect-inflicting capacity; in both cases these remain as secondary functions and in the case of film as nothing but accompanying elements. Yet, observed psychologically sound and music have a unique and wholesome function in the human psyche. Carl Gustav Jung’s analytical psychology opens the door for the understanding of both as images, far beyond the consensual acceptance of image being of a visual faculty only. Understanding music as image puts music in a different position inside a film as well as a stand-alone phenomenon in the every-day life. Analytical psychology, in both original Jungian and contemporary Post-Jungian versions, using the core ideas of archetype, opposites, functions of the psyche and image - supports the very concept of music/sound as image. This thesis will approach the consequent understanding of the role of music in film beyond the decorative-accompaniment task attributed to it and as an image on its own right. The work is divided into three main parts: Part I will introduce general Jungian aspects to build the case of a Jungian psychological account of the music-image. Part II will attempt to combine theory with practice in analysing how the auditory image (mainly music) works (or sometimes clashes) with the visual (picture) to create the ‘film as a whole’ experience. Part III will implement a specific understanding of three individual film cases of different genres, eras and styles as psychologically scrutinised ‘case histories’.
01 Jan 2016
TL;DR: In this article, the authors proposed a model to describe the positioning of music in films, which integrates the functional aspect of music with the diegetic/non-diegetic dichotomy.
Abstract: Many scholars have recently proposed new models to describe the positioning of music in films. The models attempt to improve on the “diegetic/ nondiegetic” dichotomy, but most of them lack some important elements. I believe the best way to approach this topic is by integrating it with the functional aspect of music in film narrative.
05 Sep 2007