The Musicality of Narrative Film PDF
Preview The Musicality of Narrative Film
The Musicality of Narrative Film PalgraveStudiesinAudio-VisualCulture SeriesEditor:K.J.Donnelly,UniversityofSouthampton,UK Advisory Board: Philip Brophy, Australia, Michel Chion, University of Paris III:SorbonneNouvelle,France,SeanCubitt,Goldsmiths,UniversityofLondon, UK,ClaudiaGorbman,UniversityofWashingtonTacoma,USA,LevManovich, GraduateCentre,CUNY,USAandElisabethWeis,BrooklynCollege,CUNY,USA. Theaestheticunionofsoundandimagehasbecomeaculturaldominant.Ajunc- tion for aesthetics, technology and theorisation, film’s relationship with music remainsthecrucialnexuspointoftwoofthemostpopularartsandrichestcul- turalindustries.Arguably,themostinterestingareaofcultureistheinterfaceof audioandvideoaspects,andthatfilmistheflagshipculturalindustryremains thefountandcrucibleofbothindustrialdevelopmentsandcriticalideas. Palgrave Studies in Audio-Visual Culture has an agenda-setting aspiration. Byacknowledgingthatradicaltechnologicalchangesallowforrethinkingexist- ing relationships, as well as existing histories and the efficacy of conventional theories, it provides a platform for innovative scholarship pertaining to the audio-visual.Whilefilmisthekeystoneoftheaudio-visualcontinuum,theseries aimstoaddressblindspotssuchasvideogamesound,soundscapesandsound ecology, sound psychology, art installations, sound art, mobile telephony and stealthremoteviewingcultures. Titlesinclude: AnnaKatharinaWindischandClausTieber(editors) THESOUNDSOFSILENTFILMS NewPerspectivesonHistory,TheoryandPractice DanijelaKulezic-Wilson THEMUSICALITYOFNARRATIVEFILM PalgraveStudiesinAudio-VisualCulture SeriesStandingOrderISBN978–1–137–42975–9hardcover SeriesStandingOrderISBN978–1–137–42976–6paperback (outsideNorthAmericaonly) You can receive future titles in this series as they are published by placing a standing order. Please contact your bookseller or, in case of difficulty, write to usattheaddressbelowwithyournameandaddress,thetitleoftheseriesand oneoftheISBNsquotedabove. Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke,HampshireRG216XS,England The Musicality of Narrative Film Danijela Kulezic-Wilson UniversityCollegeCork,Ireland ©DanijelaKulezic-Wilson2015 Softcover reprint of the hardcover 1st edition 2015 978-1-137-48998-2 Allrightsreserved.Noreproduction,copyortransmissionofthis publicationmaybemadewithoutwrittenpermission. Noportionofthispublicationmaybereproduced,copiedortransmitted savewithwrittenpermissionorinaccordancewiththeprovisionsofthe Copyright,DesignsandPatentsAct1988,orunderthetermsofanylicence permittinglimitedcopyingissuedbytheCopyrightLicensingAgency, SaffronHouse,6–10KirbyStreet,LondonEC1N8TS. Anypersonwhodoesanyunauthorizedactinrelationtothispublication maybeliabletocriminalprosecutionandcivilclaimsfordamages. Theauthorhasassertedherrighttobeidentifiedastheauthorofthiswork inaccordancewiththeCopyright,DesignsandPatentsAct1988. Firstpublished2015by PALGRAVEMACMILLAN PalgraveMacmillanintheUKisanimprintofMacmillanPublishersLimited, registeredinEngland,companynumber785998,ofHoundmills,Basingstoke, HampshireRG216XS. PalgraveMacmillanintheUSisadivisionofStMartin’sPressLLC, 175FifthAvenue,NewYork,NY10010. PalgraveMacmillanistheglobalacademicimprintoftheabovecompanies andhascompaniesandrepresentativesthroughouttheworld. Palgrave®andMacmillan®areregisteredtrademarksintheUnitedStates, theUnitedKingdom,Europeandothercountries. ISBN 978-1-349-50432-9 ISBN 978-1-137-48999-9 (eBook) DOI 10.1057/9781137489999 Thisbookisprintedonpapersuitableforrecyclingandmadefromfully managedandsustainedforestsources.Logging,pulpingandmanufacturing processesareexpectedtoconformtotheenvironmentalregulationsofthe countryoforigin. AcataloguerecordforthisbookisavailablefromtheBritishLibrary. AcatalogrecordforthisbookisavailablefromtheLibraryofCongress. To Ian This page intentionally left blank Contents ListofFigures ix Acknowledgements x Part I TheTopographyofFilmMusicality 1 Introduction 3 Whatismusical(ity)? 5 Themusicalityoffilmasmetaphor 10 Musicalpoeticsoffilm 12 2 MusicasModelandMetaphor 18 Tracingtheoriginsofcontemporaryfilm/musicanalogies 18 Film’smusicalpotentialandcontemporaryfilmmusic practice 24 TheinfluenceofMTV 29 Part II ComparativeAnalysisofMusicandFilm 3 TheMusicalityofFilmRhythm 37 Musicrhythmanditsreflectioninaspectsoffilmrhythm 38 Rhythm,metreandGestaltlawsofperception 40 Rhythmoftheshotandthecut 44 4 TheRhythmofRhythms 52 Macro-rhythmandissuesofperception 52 Theimmersivepowerofform 55 Repetitionasastructuralandamusicaldevice 57 Thepowerofpatterns 65 Themusicalityofnarrativeandeditingpatterns 69 5 MusicalandFilmKinesis 73 Theillusionofmovement 74 Musicalmovementwithinashot 77 Musicalmovementofediting 80 Audio-visualmotionandemotion 82 Thekinesisofaudio-visualinteraction 86 Themusicalityofcinemaaction 88 vii viii Contents 6 TheSymbolicNatureofMusicalandFilmTime 93 Timeinmusicandfilm 94 Philosophicalandspiritualdimensionsoflinear andnonlineartimeinmusicandfilm 97 Multipletemporalitiesinmusicandfilm 102 Timeasasymbol 105 Musicasaportalintothemultipletemporalities oftheLynchianuniverse 107 Part III CaseStudies 7 JimJarmusch’sDeadManandtheRhythmof MusicalForm 117 Fromcooltopolitical,spiritualandmusical 118 Structuralrhythm 121 Rhythmofsilenceandsound 124 Micro-rhythm 126 Rhythmoftime,spaceandmotion 128 Affectiverhythm 131 8 HipHopandTechnoComposingTechniquesand ModelsofStructuringinDarrenAronofsky’sπ 137 Paranoidfilmmakingasaninspirationforparanoidanalysis 137 Thepatterns 140 Hiphopediting 142 Audio-visualkinesisandmusicalpatterning 148 Technoflow 155 9 Audio-VisualMusicalityandReflexivityinJoeWright’s AnnaKarenina 158 Loveandlust 160 Opposites,gapsandtheporousbordersbetweenthem 162 Flowingmovement,morphingdesires 165 Nuts,boltsandinvisiblejoints 171 Thepowersoffate 174 Conclusion 179 Notes 186 Bibliography 197 Filmography 209 Index 212 Figures 7.1 MyowntranscriptionofthemusicalthemefromDead MancomposedbyNeilYoung,recordedbyVaporrecords, 1996 122 7.2 WilliamBlakeinthevillageofMakahIndians(DeadMan, JimJarmusch,1995) 134 8.1 MaxCohentakinghispills(π,DarrenAronofsky,1998) 145 8.2 Rhythmictranscriptionofsoundeffectsaccompanying theimagesofMaxtakingpills(π,DarrenAronofsky, 1998) 146 8.3 Rhythmictranscriptionofsoundeffectsaccompanying theimagesofMaxlockingthedoor(π,DarrenAronofsky, 1998) 146 8.4 Transcriptionofthevisualrhythmofthe pill-taking/door-lockingscene(π,DarrenAronofsky, 1998) 146 8.5 Transcriptionofthesonicrhythmofthe pill-taking/door-lockingscene(π,DarrenAronofsky, 1998) 146 8.6 Transcriptionoftheaudio-visualrhythmofthe pill-taking/door-lockingscene(π,DarrenAronofsky, 1998) 147 8.7 MaxCohenstatinghisassumptionsaboutpatternsin nature(π,DarrenAronofsky,1998) 153 9.1 AnnaKareninaconfrontedwiththedistortedimageof herfaceinaballroommirror(AnnaKarenina,JoeWright, 2012) 168 ix
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