Sound Design is the New Score
Theory, Aesthetics, and Erotics of the Integrated Soundtrack
Series: Oxford Music/Media Series;
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Product details:
- Publisher OUP USA
- Date of Publication 7 January 2020
- ISBN 9780190855321
- Binding Paperback
- No. of pages180 pages
- Size 155x234x12 mm
- Weight 68 g
- Language English
- Illustrations 25 illus. 0
Categories
Short description:
Sound Design is the New Score explores the new trend of blurring the line between score and sound design which has transformed contemporary film soundscape by rejecting the conventions of classical scoring and challenging the modes of perception it shaped.
MoreLong description:
The practice of blurring the line between score and sound design has transformed contemporary film soundscape by challenging not only the long-established hierarchical relationships between dialogue, music, and sound effects, but also the modes of perception shaped by classical soundtrack practices. The methods of this new trend rely on the language of contemporary popular and art music, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète.
In Sound Design is the New Score, Kulezic-Wilson explores theoretical, aesthetic, and sensuous dimensions of this new trend, providing a multifaceted portrait of a practice which recognizes the interconnectedness of all soundtrack elements and emphasizes their inherent musicality. The aesthetic concerns of this practice are illuminated through the concept of the aesthetics of reticence which rejects classical narrative and scoring conventions and uses integrated soundtrack strategies to create the space for mystery in art and for individuality in the cinematic experience. The book's emphasis on sensuous and musical aspects of this practice, informed by the feminist discourse on the erotics of art, challenges popular notions about sensory cinema, demonstrating that the sensuousness of film form and its soundscapes is more sophisticated than simply being the result of excessive sensory stimulation facilitated by the use of digital technology or the "intensified" aesthetics it inspires. The discussion is supported by a wide range of case studies from American Independent, Asian, Australian, and European cinemas, including films by Shane Carruth, Claire Denis, Hou Hsiao-Hsien, Harmony Korine, David Michôd, Gus Van Sant, and Peter Strickland.
Sound Design is the New Score not only encourages us to appreciate the work of the creatives behind the films rep-resented but also our own rich experiences as we navigate what these, and films and art more broadly, can sound and feel like.
Table of Contents:
Acknowledgments
1. Introduction
2. "The Most Beautiful Area": Soundtrack's Liminal Spaces
3. Scoring with Sound, the Aesthetics of Reticence, and Films of Peter Strickland
4. Musicalized Sound Design and the Erotics of Cinema
5. The Musicalization of Speech and the Breakdown of the Film Soundtrack Hierarchy
6. Concluding Thoughts
Bibliography
Index
