TY  - CONF
  - Kulezic-Wilson, D.
  - Film Music Conference
  - After Excess - Abstinence: Notes on a new trend in music scoring (and its absence) in film and TV
  - University of Leeds
  - Oral Presentation
  - 2009
  - ()
  - 06-NOV-09
  - 07-NOV-09
  - Until recently 'musical abstinence; has been a strategy almost unimaginable in the mainstream and only sparingly cultivated in art-house (mostly European) cinema. And yet, the trend has gained new impetus in film practice during the last decade, with a larger number of films and even some TV dramas manifesting a reserved approach to the use of non-diegetic music, to the point of its total absence in some cases. Drawing on examples from the new Romanian cinema, films by Nuri Bilge Ceylan, Michael Haneke, Jim Jarmusch and the TV drama series The Wire, my paper looks at motives for adopting this strategy and explores modes in which its implementation replaces some of the functions previously assigned to film music while at the same time helping establish plural texts.  It also points to the fact that in some cases the absence of a conventional score is ¿compensated¿ by a latent musicality on different levels of film structure and/or in sound design.
DA  - 2009/NaN
ER  - 

@unpublished{V60789597,
   = {Kulezic-Wilson,  D. },
   = {Film Music Conference},
   = {{After Excess - Abstinence: Notes on a new trend in music scoring (and its absence) in film and TV}},
   = {University of Leeds},
   = {Oral Presentation},
   = {2009},
   = {()},
  month = {Nov},
   = {07-NOV-09},
   = {{Until recently 'musical abstinence; has been a strategy almost unimaginable in the mainstream and only sparingly cultivated in art-house (mostly European) cinema. And yet, the trend has gained new impetus in film practice during the last decade, with a larger number of films and even some TV dramas manifesting a reserved approach to the use of non-diegetic music, to the point of its total absence in some cases. Drawing on examples from the new Romanian cinema, films by Nuri Bilge Ceylan, Michael Haneke, Jim Jarmusch and the TV drama series The Wire, my paper looks at motives for adopting this strategy and explores modes in which its implementation replaces some of the functions previously assigned to film music while at the same time helping establish plural texts.  It also points to the fact that in some cases the absence of a conventional score is ¿compensated¿ by a latent musicality on different levels of film structure and/or in sound design.}},
  source = {IRIS}
}