TY  - CONF
  - Kulezic-Wilson, D.
  - American Independent Cinema: Past, Present, Future
  - A Musical Declaration of Independence in American Cinema
  - Liverpool
  - Oral Presentation
  - 2009
  - ()
  - 21-MAY-09
  - 10-MAY-09
  - The subject of music and its influence on both the filmmaking process and the final product may not be high on the list of priorities of film studies generally, but it does demand particular attention when considering American independent cinema. Since its invention, film has been compared to music, explained by the use of musical terms and even conceived and structured using music as a role model. However, for different reasons, which will be examined in this paper, the idea of film musicality has found particularly fertile ground in American independent cinema. Jarmusch's musically structured and rhythmically punctuated narratives, Aronofsky's hip hop montage, audio-visual musique concrète in Gus Van Sant's films inspired by Béla Tarr and a widespread tendency among independent filmmakers (Tarantino, Wes Anderson, P.T. Anderson, Sofia Coppola, etc.) to write screenplays around songs that inspire them, prompting the coining of the term auteur soundtrack, are some striking examples of a practice in which the significance of musical influences and their effects surpass the usual dramaturgical, cultural and marketing roles of music in film.The musical approach to film practiced by filmmakers such as those mentioned above challenges Hollywood norms on a number of levels. It not only shuns the clichés of a scoring practice which exploits music's affective properties in order to extort predictable responses but also directly influences the process of creating film and the shaping of its constitutive elements, permeating all aspects of film's audio-visual structure. This paper argues that the musical sensibility of filmmakers who treat film as an inherently musical medium is one of the main facilitators of their distinctive styles.
DA  - 2009/NaN
ER  - 

@unpublished{V57689007,
   = {Kulezic-Wilson,  D. },
   = {American Independent Cinema: Past, Present, Future},
   = {{A Musical Declaration of Independence in American Cinema}},
   = {Liverpool},
   = {Oral Presentation},
   = {2009},
   = {()},
  month = {May},
   = {10-MAY-09},
   = {{The subject of music and its influence on both the filmmaking process and the final product may not be high on the list of priorities of film studies generally, but it does demand particular attention when considering American independent cinema. Since its invention, film has been compared to music, explained by the use of musical terms and even conceived and structured using music as a role model. However, for different reasons, which will be examined in this paper, the idea of film musicality has found particularly fertile ground in American independent cinema. Jarmusch's musically structured and rhythmically punctuated narratives, Aronofsky's hip hop montage, audio-visual musique concrète in Gus Van Sant's films inspired by Béla Tarr and a widespread tendency among independent filmmakers (Tarantino, Wes Anderson, P.T. Anderson, Sofia Coppola, etc.) to write screenplays around songs that inspire them, prompting the coining of the term auteur soundtrack, are some striking examples of a practice in which the significance of musical influences and their effects surpass the usual dramaturgical, cultural and marketing roles of music in film.The musical approach to film practiced by filmmakers such as those mentioned above challenges Hollywood norms on a number of levels. It not only shuns the clichés of a scoring practice which exploits music's affective properties in order to extort predictable responses but also directly influences the process of creating film and the shaping of its constitutive elements, permeating all aspects of film's audio-visual structure. This paper argues that the musical sensibility of filmmakers who treat film as an inherently musical medium is one of the main facilitators of their distinctive styles.}},
  source = {IRIS}
}