The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks

467 Pages·2016·5.2 MB·English

by  Liz Greene, Danijela Kulezic-Wilson (eds.)

THE PALGRAVE HANDBOOK
OF SOUND DESIGN AND
MUSIC IN SCREEN MEDIA
INTEGRATED SOUNDTRACKS
Edited by Liz Greene and Danijela Kulezic-Wilson
The Palgrave Handbook of Sound Design and Music
in Screen Media
Liz Greene • Danijela Kulezic-Wilson
Editors
The Palgrave
Handbook of Sound
Design and Music in
Screen Media
Integrated Soundtracks
Editors
Liz Greene Danijela Kulezic-Wilson
Liverpool John Moores University University College Cork
UK Ireland
ISBN 978-1-137-51679-4 ISBN 978-1-137-51680-0 (eBook)
DOI 10.1057/978-1-137-51680-0
Library of Congress Control Number: 2016959564
© The Editor(s) (if applicable) and The Author(s) 2016
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Kingdom
A
cknowledgements
The editors would like to thank Kevin Donnelly, the series editor, for
suggesting this project and Palgrave editors Chris Penfold, Harry Fanshawe
and Lina Aboujieb for nurturing it from proposal to publication. We are
grateful to our respective institutions, Dublin City University and University
College Cork, for supporting this anthology throughout the process. We
would also like to thank the Centre for Media Research at University of
Ulster (Coleraine) for their initial support during our doctoral studies.
Liz Greene would like to thank her colleagues in the School of
Communications, at Dublin City University and is grateful for financial sup-
port received through the Faculty of Humanities and Social Sciences Book
Publication Scheme. On a personal note, thanks, above all, goes to Niamh,
Dario and Marmaduke.
Danijela Kulezic-Wilson would like to thank University College Cork for
assisting the realization of this project with sabbatical leave, the CACSSS
Research Support Fund, the CACSSS Research Publication Fund and the
Departmental Research Fund. She would also like to thank her colleagues from
the Department of Music for their help and advice. The biggest thank you goes
to her husband Ian for his unwavering support.
Most of all we would like to thank our contributors for their commitment
and patience during the protracted process of putting this anthology together.
This book received financial support from the Faculty of Humanities and
Social Sciences Book Publication Scheme at Dublin City University. It also
received financial support from the College of Arts, Celtic Studies and Social
Science Research Publication Fund, University College Cork.
v
c
ontents
1 Introduction 1
Liz Greene and Danijela Kulezic-Wilson
Part I Boundaries and Their Disintegration 15
2 From Noise: Blurring the Boundaries of the Soundtrack 17
Liz Greene
3 Interview 1: Sound Recording, Sound Design and 
Collaboration—An Interview with Ann Kroeber 33
Liz Greene
4 Organizing Sound: Labour Organizations and Power
Struggles that Helped Define Music and Sound in Hollywood 43
Gianluca Sergi
5 Mixing as a Hyperorchestration Tool 57
Sergi Casanelles
6 Emotional Sound Effects and Metal Machine Music:
Soundworlds in Silent Hill Games and Films 73
K.J. Donnelly
vii
viii CONTENTS
Part II Presence, Immersion, Space 89
7 Towards 3-D Sound: Spatial Presence and the Space Vacuum 91
Miguel Mera
8 Inner and Outer Worlds in the Film Gravity:
A Multidisciplinary Approach 113
Gilbert Gabriel and David Sonnenschein
9 Intertwining Music and Sound in Film 123
Martine Huvenne
10 Interview 2: Reality and Representation—An Interview
with Dario Marianelli 139
Miguel Mera
Part III Listening: Affect and Body 151
11 Sound Effects/Sound Affects: ‘Meaningful’ Noise
in the Cinema 153
James Wierzbicki
12 Listening to Violence: Point-of-Audition Sound, Aural
Interpellation, and the Rupture of Hearing 169
Tony Grajeda
13 Acoustic Disgust: Sound, Affect, and Cinematic Violence 183
Lisa Coulthard
Part IV Time and Memory 195
14 Mad Sound and the Crystal-Image: The Soundtrack
of Rivette’s L’Amour fou 197
Byron Almén and James Buhler
15 The Sonic Realm in The Quatermass Experiment: Medium
and Genre and Sound 213
Robynn J. Stilwell
CONTENTS ix
16 Sound, Music and Memory in Jia Zhangke’s
‘Hometown Trilogy’ 229
Philippa Lovatt
17 Vinyl Noise and Narrative in CD-Era Indiewood 245
Ian Garwood
18 Interview 3: Mixing Punk Rock, Classical, and New Sounds
in Film Music—An Interview with Brian Reitzell 261
Meghan Joyce Tozer
Part V Breaking Conventions 271
19 From Analogue to Digital: Synthesizers and Discourses
of Film Sound in the 1980s 273
Katherine Spring
20 Unlearning Film School: The ‘lo-fi’ Soundtracks
of Joe Swanberg 289
Nessa Johnston
21 The Janus Project: Cristobal Tapia de Veer’s Utopia,
Anempathetic Empathy and the Radicalization
of Convention 305
Annette Davison and Nicholas Reyland
22 Interview 4: Building Bridges: Sound Design
as Collaboration, as Style and as Music
in The Bridge—An Interview with Carl Edström 321
Annette Davison and Martin Parker
Part VI The Sound of Machines and Non-Humans 329
23 The Sound of an Android’s Soul: Music, MIDI
and Muzak in Time Of Eve 331
Philip Brophy
x CONTENTS
24 The Sounds in the Machine: Hirokazu Tanaka’s
Cybernetic Soundscape for Metroid 347
William Gibbons
25 Redundancy and Information in Explanatory Voice-Ins
and Voice-Offs 361
Cormac Deane
26 Interview 5: Under the Skin of Film Sound—An
Interview with Johnnie Burn 377
John Hough
Part VII The Musicality of Soundtrack 385
27 Electroacoustic Composition and the British Documentary
Tradition 387
Andy Birtwistle
28 Renegotiating the Overture: The Use of Sound and Music
in the Opening Sequences of A Single Man and Shame 403
Adam Melvin
29 Interview 6: Orchestration, Collaboration,
and the Integrated Soundtrack—An Interview
with Matt Dunkley 421
Ian Sapiro
30 Musically Conceived Sound Design, Musicalization of Speech
and the Breakdown of Film Soundtrack Hierarchy 429
Danijela Kulezic-Wilson
Filmography 445
Index 453
n c
otes on ontributors
Byron Almén is Associate Professor of Music Theory at the University of
Texas at Austin. He is the author of A Theory of Musical Narrative and co-
editor, with Edward Pearsall, of Approaches to Meaning in Music, both pub-
lished by Indiana University Press. He is the co-author, with Stefan Kostka and
Dorothy Payne, of the textbook Tonal Harmony.
Andy Birtwistle is Reader in Film and Sound at Canterbury Christ Church
University, and is the author of Cinesonica: Sounding Film and Video (2010).
In addition to research on film sound, he has published articles on artists’ film
and video, modernism and music, and Taiwan cinema. Andy is also a sound
artist and filmmaker, and is currently the Director of the Centre for Practice
Based Research in the Arts at Canterbury Christ Church University.
Philip Brophy writes on film, sound and music among other things. www.
philipbrophy.com
James Buhler teaches at the University of Texas at Austin and has authored
more than 20 articles on music, sound and film. He is co-author of Hearing the
Movies, now in its second edition.
Sergi Casanelles is a composer for concert and film music. He has completed
a PhD in Film Music Composition at NYU. His research is focused on studying
the Hyperorchestra or how new technologies interact with music in film and
how this interaction affects its aesthetics. He works as an Adjunct Professor at
NYU Steinhardt, teaching Film Music Composition, History and Contemporary
Technological approaches.
Lisa Coulthard is Associate Professor of Film Studies in the Department of
Theatre and Film at the University of British Columbia. She has published
widely on contemporary European and American cinemas, film violence and
film sound. She holds a SSHRC Insight Grant for a study of cinematic sound
and violence in the digital age and is currently completing a book on sound in
the films of Quentin Tarantino.
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