David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Journal of Aesthetic Education 44 (4):81-94 (2010)
When most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. Christian Metz, in his influential text Film Language: A Semiotics of the Cinema, describes film as “Born of the fusion of several pre-existing forms of expression, which retain some of their own laws (image, speech, music, and noise),” to which he later adds “written materials” as a fifth component.1 Of these five channels of information included in film, music is the most artificial ..
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Susan Ingram (2006). Music in Narrative Film. On Motion and Stasis : Photography, "Moving Pictures," Music / David Neumeyer, Laura Neumeyer ; the Topos of "Evil Medieval" in American Horror Film Music / James Deaville ; la Leggenda Del Pianista Sull'oceano : Narration, Music, and Cinema / Rosa Stella Cassotti ; Music in Aki Kaurismäki's Film the Match Factory Girl / Erkki Pekkilä ; It's a Little Bit Funny : Moulin Rouge's Sparkling Postmodern Critique. In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.
Elspeth Kydd (2011). The Critical Practice of Film: An Introduction. Palgrave Macmillan.
Jeremy Tambling (1987). Opera, Ideology, and Film. St. Martin's Press.
Christian Metz (1974/1991). Film Language: A Semiotics of the Cinema. University of Chicago Press.
Noël Carroll (1996). Theorizing the Moving Image. Cambridge University Press.
Gregory Currie (1995). Image and Mind: Film, Philosophy and Cognitive Science. Cambridge University Press.
Jerrold Levinson (1996). Film Music and Narrative Agency. In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. U Wisconsin Press.
I. C. Jarvie (1987). Philosophy of the Film: Epistemology, Ontology, Aesthetics. Routledge & Kegan Paul.
Andrew Kania (2002). The Illusion of Realism in Film. British Journal of Aesthetics 42 (3):243-258.
Christine Etherington-Wright (2011). Understanding Film Theory: Theoretical and Critical Perspectives. Palgrave Macmillan.
Giorgio Biancorosso (2004). Film, Music, and the Redemption of the Mundane. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
Alison Niemi (2003). Film as Religious Experience: Myths and Models in Mass Entertainment. Critical Review 15 (3-4):435-446.
Added to index2010-11-04
Total downloads53 ( #28,555 of 1,096,600 )
Recent downloads (6 months)16 ( #8,352 of 1,096,600 )
How can I increase my downloads?