UID:
almahu_9948054603302882
Format:
XII, 248 p. 24 illus., 13 illus. in color.
,
online resource.
ISBN:
9783030005061
Series Statement:
Palgrave Studies in Audio-Visual Culture
Content:
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. .
Note:
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 From Gladiator -- 6. Mozart, Harmonicas, and Aesthetic Incongruence in The Shawshank Redemption -- 7. Jazz, Kazoos, and Conceptual Incongruence in The Informant! -- 8. Duran Duran and Semantic Incongruence in L4yer Cake -- 9. Conclusions.
In:
Springer eBooks
Additional Edition:
Printed edition: ISBN 9783030005054
Additional Edition:
Printed edition: ISBN 9783030005078
Language:
English
DOI:
10.1007/978-3-030-00506-1
URL:
https://doi.org/10.1007/978-3-030-00506-1
