TY  - CONF
  - Kulezic-Wilson, D.
  - Music and Screen Media Conference 2014
  - Musically Conceived Sound Design and the Breakdown of Film Soundtrack Hierarchy
  - University of Liverpool
  - Oral Presentation
  - 2014
  - ()
  - 0
  - 25-JUN-14
  - 26-JUN-14
  - The recent cinematic practice of blurring the boundaries between score and sound design has been most often discussed in relation to the increasing use of musique concrète and the emancipation of sound effects into musically efficient and narratively pertinent elements of the film soundtrack. The narrative dominance of language and speech, however, has remained largely unchallenged in practice and scholarship alike, occasional excursions into the poetic use of the voice-over notwithstanding. My paper will draw attention to the fact that more recently the traditional hierarchical relationships between speech, music and sound effects have been further disrupted by a newly developed taste for the asynchronous use of speech in a musical context (Tabu, Miguel Gomes, 2012), the musical use of language (Spring Breakers, Harmony Korine, 2012) and the deliberate foregrounding of musical material at the expense of intelligible speech (Breathe In, Drake Doremus, 2013). Shane Carruth’s Upstream Color (2013) takes all the aforementioned methods one step further and advocates the interchangeability of all elements of the film soundtrack in the fulfilment of narrative as well as musical functions. Drawing on Prieto’s (2002) notion of the exemplificational use of language in modernist literature, I will argue that Carruth’s DIY approach to writing, directing, editing, cinematography and composing in Upstream Color promotes a type of film form which, similar to some modernist methods of weakening the denotative function of language, undermines the narrative sovereignty of the spoken word in order to encourage an alternative mode of perception stimulated by the musical and sensuous qualities of the film’s audio-visual material.
DA  - 2014/NaN
ER  - 

@unpublished{V270717390,
   = {Kulezic-Wilson,  D. },
   = {Music and Screen Media Conference 2014},
   = {{Musically Conceived Sound Design and the Breakdown of Film Soundtrack Hierarchy}},
   = {University of Liverpool},
   = {Oral Presentation},
   = {2014},
   = {()},
   = {0},
  month = {Jun},
   = {26-JUN-14},
   = {{The recent cinematic practice of blurring the boundaries between score and sound design has been most often discussed in relation to the increasing use of musique concrète and the emancipation of sound effects into musically efficient and narratively pertinent elements of the film soundtrack. The narrative dominance of language and speech, however, has remained largely unchallenged in practice and scholarship alike, occasional excursions into the poetic use of the voice-over notwithstanding. My paper will draw attention to the fact that more recently the traditional hierarchical relationships between speech, music and sound effects have been further disrupted by a newly developed taste for the asynchronous use of speech in a musical context (Tabu, Miguel Gomes, 2012), the musical use of language (Spring Breakers, Harmony Korine, 2012) and the deliberate foregrounding of musical material at the expense of intelligible speech (Breathe In, Drake Doremus, 2013). Shane Carruth’s Upstream Color (2013) takes all the aforementioned methods one step further and advocates the interchangeability of all elements of the film soundtrack in the fulfilment of narrative as well as musical functions. Drawing on Prieto’s (2002) notion of the exemplificational use of language in modernist literature, I will argue that Carruth’s DIY approach to writing, directing, editing, cinematography and composing in Upstream Color promotes a type of film form which, similar to some modernist methods of weakening the denotative function of language, undermines the narrative sovereignty of the spoken word in order to encourage an alternative mode of perception stimulated by the musical and sensuous qualities of the film’s audio-visual material.}},
  source = {IRIS}
}