Identifying and Interpreting Incongruent Film Music
Autor David Irelanden Limba Engleză Paperback – 26 noi 2019
This
book
explores
the
concept
of
incongruent
film
music,
challenging
the
idea
that
this
label
only
describes
music
that
is
inappropriate
or
misfitting
for
a
film’s
images
and
narrative.
Defining
incongruence
as
a
lack
of
shared
properties
in
the
audiovisual
relationship,
this
study
examines
various
types
of
incongruence
between
a
film
and
its
music
and
considers
the
active
role
that
it
can
play
in
the
construction
of
a
film’s
meaning
and
influencing
audience
response.
Synthesising
findings
from
research
in
the
psychology
of
music
in
multimedia,
as
well
as
from
ideas
sourced
in
semiotics,
film
music,
and
poststructuralist
theory,
this
interdisciplinary
book
provides
a
holistic
perspective
that
reflects
the
complexity
of
moments
of
film-music
incongruence.
With
case
studies
including
well-known
films
such
asGladiatorandThe
Shawshank
Redemption,
this
book
combines
scene
analysis
and
empirical
audience
reception
tests
to
emphasise
the
subjectivity,
context-dependency,
and
multi-dimensionality
inherent
in
identifying
and
interpreting
incongruent
film
music.
| Toate formatele și edițiile | Preț | Express |
|---|---|---|
| Paperback (1) | 369.52 lei 6-8 săpt. | |
| Springer – 26 noi 2019 | 369.52 lei 6-8 săpt. | |
| Hardback (1) | 485.93 lei 6-8 săpt. | |
| Springer International Publishing – 13 noi 2018 | 485.93 lei 6-8 săpt. |
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Specificații
ISBN-13: 9783030405236
ISBN-10: 3030405230
Dimensiuni: 155 x 235 mm
Greutate: 0.32 kg
Ediția:1st ed. 2018
Editura: Springer
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
ISBN-10: 3030405230
Dimensiuni: 155 x 235 mm
Greutate: 0.32 kg
Ediția:1st ed. 2018
Editura: Springer
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
Cuprins
1.
Introduction.-
Part
I:
Identifying
Incongruence.-
2. Interrogating
(In)congruence:
The
Incongruent
Perspective.-
3. Identifying
(In)congruence.-
Part
II:
Interpreting
Incongruence.-
4. Introduction
to
Part
II.-
5.
Intradomain
Incongruence
in
the
Opening
Battle
Sequence
FromGladiator.-6. Mozart,
Harmonicas,
and
Aesthetic
Incongruence
inThe
Shawshank
Redemption.-
7. Jazz,
Kazoos,
and
Conceptual
Incongruence
inThe
Informant!.-
8. Duran
Duran
and
Semantic
Incongruence
inL4yer
Cake.-
9.
Conclusions.
Notă biografică
David
Irelandis
Lecturer
in
music
psychology
at
the
University
of
Leeds,
UK.
He
has
previously
published
on
incongruent
film
music
in
the
interdisciplinaryConstructing
Crimecollection
(2012),
as
well
asThe
SoundtrackandMusic
and
the
Moving
Imagejournals.
Textul de pe ultima copertă
This
book
explores
the
concept
of
incongruent
film
music,
challenging
the
idea
that
this
label
only
describes
music
that
is
inappropriate
or
misfitting
for
a
film’s
images
and
narrative.
Defining
incongruence
as
a
lack
of
shared
properties
in
the
audiovisual
relationship,
this
study
examines
various
types
of
incongruence
between
a
film
and
its
music
and
considers
the
active
role
that
it
can
play
in
the
construction
of
a
film’s
meaning
and
influencing
audience
response.
Synthesising
findings
from
research
in
the
psychology
of
music
in
multimedia,
as
well
as
from
ideas
sourced
in
semiotics,
film
music,
and
poststructuralist
theory,
this
interdisciplinary
book
provides
a
holistic
perspective
that
reflects
the
complexity
of
moments
of
film-music
incongruence.
With
case
studies
including
well-known
films
such
as Gladiator and The
Shawshank
Redemption,
this
book
combines
scene
analysis
and
empirical
audience
reception
tests
to
emphasise
the
subjectivity,
context-dependency,
and
multi-dimensionality
inherent
in
identifying
and
interpreting
incongruent
film
music.
Caracteristici
Expands
the
definition
of
incongruent
film
music
by
taking
a
nuanced
look
at
how
difference
between
a
film’s
images,
narrative
and
music
can
contribute
to
perceived
meaning
Combines
psychological
research
and
other
subject
perspectives
(including
semiotic
and
poststructuralist
theory),
with
more
traditional
approaches
from
film
music
studies
Identifies
additional
types
of
incongruent
film
music
to
those
traditionally
discussed,
for
example,
film-music
mismatches
of
a
more
philosophical
and
conceptual
nature
rather
than
just
those
that
rely
on
emotional
difference
between
sound
and
image