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    Post theory about film studies

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    64 views28 pages

    Post

    Uploaded by

    Wojtek Wieczorek
    Post theory about film studies

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    WISCONSIN f NWS 96 Paueas , POST-THEORY sin Tompon Sapir ; Reconstructing te by David Bordwell and Noe Carll Thay Reoraing Fl Sonia | Film Studies Shared eames: Hisoy of Movie Proetation ‘ne Und Seas Dover Gomery Lever hem: Tr rion i Edit "19-1088 aly ied yan Chop Horak DAVID BORDWELL he ego Sin: Comrip and he Fates Woman Fm, 1028-1082 Ge ee Jasob NOEL CARROLL Seng th Sr: Matic and te Clasico Fi 7 ‘tina Kak Pacem of Time Mig nd he 19301 onal Khare ibloteta Uniwesvtacka ini ‘The University of Wisconsin Press smite ar Mi? a ay sere ba gene Way of thinking abou lm musi, i slic ue 3 reductive description of how music actually funesions in a film, one that — — pao acang harbiye are fest oh pa of te yl das ane mon fics , nuns he amen cp cen fin shy Mach Unheard Melodies? fe ceo waka irpted ius eps prone sot A Critique of Psychoanalytic Son inf andl een wha I to be mot ove cnaed wth honest uneven nthe scone | Theories of Film Music Giese se hex mh sing lan pen Chit ac ded nent good ae one youdont ere If Sit JES. Teian es pric senate thc mins team “Bote Wma mcr Lae he ern (1987) Es Film Music and Contemporary Theory “Te tical concep of “unheard mele" hs eerie considerable poe inresent year sng fin msi hols. Aording to his ine fren, fm music onchow exapes cae helm potato’ percep ae residuringthe vewingexpencace Became ofthe pemac) of ita leas Lin nanatie and because of cera pci prose nthe pecator, m_ | mas i shorinted to the fin’ chee ina manner which ender ie Suibe Though fm music server snporant narasional apd ttl Function, it performs tex incon une” bythe spectator, whoa immer in the H's Seton to attend vo the interplay of image and oud, ‘mac and nara "one wonders ifs cain to innit are not overstated, Cetin composer Marie auber ates, people do not go to the nema rte oman However, Hollywood marketing paces have waitin lat fret portance on Blmgoen arches of lm muse inthe seo he ‘usc and oundac alums seem log to suggest ha fim Spectaos py ret artentiont ln muse when ic plying on ther sterco at ge Conve thoy aren the theater rated before the fckering images ov “Thong the notion of nat has taken om enewed strength inthe wake | iit Strectrls theory, isimportant orem that the omeep | slong ition in fm mas studies, one embraced by both theorseand " petisone aie AS eal +1936, Kurt Landon posed thi apparently ee | et qveon ou thereto een ln ms andi ae Lon = {See al ies fancamenaly fm seal nly cose hate Sh chned in nm no co he ‘rst ngcer once or ice bse oa dy veal ou ‘pel nanan of wh de msc wi ha ely ed On rw the ms eed om th ptr whether aly of ean Eee toncrin nthe ed Tr eh cone = wa er atl ons hr eet ben thine in hi pale: | mer cing cht the senten n 1989 Ned Tee, [Kees Cop wr "Nodnont more maser gr ve em ber han tcl qc zing he a fn ak] Ging tthe Sse ham te RAD com “Santi enn concn scm popu mic aaeguin of spb: Stoldone eave ores KO co cmos toe rare met in och mca NED a ht neyo a te oe a fo Shetacfot ofa teres penepn: More bcos fp tea on Bega eee a ee ‘tent to which the various nareationalfianctions of film music depend upon te e's awareness of the music, the most common is that the music will Servant | rcv dnt atime nara a he son Sach Thies ts queso by poblmaizng te someon ee enn compen ue Ross sani tee aoe son etimiascsabseret ran ating aretha | pa er hn te publ hose tos peer 20 2 Pee Ta: il Tara Ae smite Ua Mei as rene direc omar te vil imag, wil acer ge its mesg" ‘ver, Mx Seine ote, the msc mst not ony have an emoxong ‘tte, but al nt matin» cere median evel of quality none te appropri for the fm. According to Steiner, "The danger i tha re cat be So bad oso good, tat distracts and kes 383 fom Because they feared confounding and dseacting fl spectator, ich tc ckments were consated a kindof cinematic i 2d further explored the varus ways in which thi curse engaged chic proces ofthe spectator. Though tethers ten nce what unified tas work wat an rcarching interest ino the ea ln efficed ll masks of ts cinemas onsrtion an cas ssajet postion which bound the spear int the fton hy sk operation cinematic nation, th sutring” was bleed ext which was both seamless and wansparent in en of ts dcr lnc rough which thy fhone! cores which can e iy dsr sy o selfing, se, and unobtrav. Au mero ln usc cola hs context, he chi fo ln ms’ insult is peal cone is anti aration, Pall othe nay it which anes sone fang and other sstic device are std to be rendered vb By proces of suture and naratviation, fim musics spoaed vo be pale by these seemingly clement fet mic eaton I Sesgned to sure bo Rim mus’ appropriateness and unobvenay ‘Among these were the practic of speaking (beginning 3 Ue 2 ow slag ‘underseath logue) the se oinstrumentl colors ha would comgleme father than cla withthe actor speaking voice he cael timing fi he importance of Stephen Heath's concept uf naratzaon ‘quences andthe development of cick wath sequences of aul rary ln music theory seed in Fins hi ha “aly omic click wie to smchrnize mai andimage) which Faber thea eth requires msi’ filles serve" “iby har msc might be metclouslfshioned eo Bron screen aang cathe than simpy resto the eoncsion that fim musi in “Addisonly, during the camel Hollyweonder thee score sed acount critics arg hati ery propery sigs fm music rmrkaly sable et of native functions A ea a 1949, Aare ed postion within a suture mode. Beet os terene toward suggested fe geno area in which ln vs ered the ssen: ite naulty and absraccon lm maxis thought to be epee Ise a convincing aomesphereoftime and place 2)icundeined the ag] ado the proces of binding the spectator neste wend atom ee ken tings or phologlatats fcharcters 3) ese a aknd care | phil horns wllemphase deen spec of masts ence tal background ler the action; ) i gave a ace of conti signifi, they colestively maintain that muse saker a spel ‘ling §) accentuated the thea bull up ofa seme and roundel onthe spectators puyche by eturing the bjt toa preoepalpe ssh fecting of aly? wae, and est the rimorlcildhod experene of ae. Most curent theo of fn musi are derived rom each ofthese lo: sc ls eri fet the perepalbackyoundatach lowers, tn developing a tna! offer muni’ taut, com bjs’ resitance ro being aed nthe ees ad waning ‘chols make 3 egal move that separates hem fom ther ase il ensontp by the subj preconssious, {ior For Hllwoad composers and cary im us theo, then ppchiounalti amewoek, the reson fn music isabe wo do his ‘unobersivenes a only an npc aesthetic crterongenering the ofits direct aces othe spectators pyhe, According othe ot Suction of fim mas nd of pragmatic guideline employed to crete cai of Guy Roalit and Dade Ani, son plas an irra ratcally elective sore In conten, reset theorist ike Cau athe consiuon ofthe subject. The infnt experiences aio pace {nd Cary Finn exten the pipe of unobuivenes om epi And of “sonorous envelope,” which made up ofthe sound ofthe spesatorhip They argue that becase composes intended mas dy acd cvionment Rosas suggests thatthe peso seni Clase ae unnodceabe, eas fendered wanspten, isle, adi ners ints ivocation ofthe sues aor imanay incom tormovie audiences in thi eapet these modes ber erat inks ith precept lngnge of sound aunt! wth the pineal Saris site and enunciation theanes hat predominate ia the cle. Rost even goes rte tn are tat Western sa roughout the Seventies and ghtes andi hs content ha ay. the cnet aay fro a eta otal center ropa the isbes undensoos nos for the mater toy | Historical suture and enunciation theories grew ou of brgening pring thie o cinema, ric ague tat the perasvnessf back tern ing, emote and pychoanal they maght De a min sou fr snheret ins vocation athe pic aes oF tinea, Theor such as Raymond Bello, Chistian Met, Je bony fason with the mother im mai ne thereat (iar, Cols MacCabe, Datel Dayan, and Stephen Heath al bjt ring the viewing experience, and to tate wha Tea a Pee Te: i Tran Aes Smite Ueda? a yim language Is Jb Kee’ view, masa in of |. pot nga, er the set to th i fei eet the traces of the subject's Imaginary feeling of fusion with the eh ota sito aia pene = nth sme concer fo oan an ple cient cha lyons! Fn ai nd the Romane cogs which porte xi’ ive mad he unt ay te awoke ts epson of test pct, las mane ap hs poral expen and Cote pon the et eng of nc ant) the ica pant ne matin ot ovr, bec o the wien cra sacator mun a oh sal an tp, ony cate ecto t sit and eazel wor ou th secures of pti fee a tl te oxi mor of ost de oe an {As Fon is wo stow thrgh sul aa Rw iy ad eas fer pray ear example im mc eon om eae of thir obese seamen ini eet a ste oat Sano Ua, meer, lis catnip phos oy ar owe danced tanto ever cc Hs ok mth theory of Him unc tan ans of hams ptr of music factors wathin Romantn Mat and peal ‘ett fH muse nay in los nga acoing 0 Fn, ao Sm muss sac come 8 othe casa! Holhwood ines paduton of meaning, hes sey lings es ney cone os tal ae noel n my inom tomer these a nmbe eon ie ig ln mas tres based one tna For one he tone a fen used th ane Hele cm hor str ther elie tb pope nS pc nde to the sugges that's foo woe ues Wat gods yon dont nae" hin Raman eee ein hsm he es, Si Ro, td knw wh he ies ht gal nc the Kn at ea ee ‘th ths sly thon Mac ald fe eas ee rt Bend ous. thee compose eth ajstions bla much more sabe rks wn tse They he adam oo clin scorn though componente cer mun eb ssh “ena” thea ele that tm neve Behe sin oe ne ay atl atom, Te ne ly any prt inthe eet contton of nnn teh fa cag couldn acolo th sor, bt won need and cope yap Pa hse. the qc bse Lois Bay cl he “bj ft” of ie Misi spe tore sectors pce epeens wept in isl cena thee trey th aig ee th re ch {rusts slopne othe hers brea, nd eocOUngng the ped ‘cic enticton of hire her own persion wth ht os Incxplcting the eons fo ths pratense, Gorbma rpc ta vic snes ta oes incon nthe und one eg {Dutic her being shag Incr ce, mas, ec

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