TY  - CONF
  - Kulezic-Wilson, D.
  - Annual Conference of the Society for Musicology in Ireland
  - Musical Affectiveness in Non-Hollywood Cinema: Gustavo Santaolalla's Music for Alejandro González Iñárritu's Films
  - Dublin Institute of Technology
  - Oral Presentation
  - 2007
  - ()
  - 11-MAY-07
  - 13-MAY-07
  - While film musicology has recently undergone a noticeable expansion in terms of themes, approaches and the sheer number of scholars interested in the subject, the conventions and clichés of mainstream film scoring practice - the main topic of the discipline - have not changed much since first criticised in the late 1940s. Duplicating narrative with musical content, oversaturating the soundscape with 'unobtrusive' musical material or using music to tell the audience how to feel are as much 'bad habits' of Hollywood scoring practice now as they were six decades ago when first condemned by Adorno and Eisler. But in the same way the dominance of the Hollywood mainstream has been undermined in the last two decades by the success of American independent cinema, so has scoring practice started to register the presence of new ideas and habits originating mostly from outside Hollywood, in independent and World cinema, introducing a more musical treatment of the soundtrack and, most notably, a more subtle employment of music¿s affective properties. Using the example of the work of composer Gustavo Santaolalla and his collaboration with director Alejandro González Iñárritu in films such as 21 Grams and Babel, I want to explore an approach in which music is treated as one of the constitutive elements of a film's narrative, formal and rhythmic structure, with its affective impact coming as a welcome 'pay-off' from its integration into a film's structure, and not as a result of exploiting music's affective properties through clichéd strategies designed to produce predictable responses.  
DA  - 2007/NaN
ER  - 

@unpublished{V60789619,
   = {Kulezic-Wilson,  D. },
   = {Annual Conference of the Society for Musicology in Ireland},
   = {{Musical Affectiveness in Non-Hollywood Cinema: Gustavo Santaolalla's Music for Alejandro González Iñárritu's Films}},
   = {Dublin Institute of Technology},
   = {Oral Presentation},
   = {2007},
   = {()},
  month = {May},
   = {13-MAY-07},
   = {{While film musicology has recently undergone a noticeable expansion in terms of themes, approaches and the sheer number of scholars interested in the subject, the conventions and clichés of mainstream film scoring practice - the main topic of the discipline - have not changed much since first criticised in the late 1940s. Duplicating narrative with musical content, oversaturating the soundscape with 'unobtrusive' musical material or using music to tell the audience how to feel are as much 'bad habits' of Hollywood scoring practice now as they were six decades ago when first condemned by Adorno and Eisler. But in the same way the dominance of the Hollywood mainstream has been undermined in the last two decades by the success of American independent cinema, so has scoring practice started to register the presence of new ideas and habits originating mostly from outside Hollywood, in independent and World cinema, introducing a more musical treatment of the soundtrack and, most notably, a more subtle employment of music¿s affective properties. Using the example of the work of composer Gustavo Santaolalla and his collaboration with director Alejandro González Iñárritu in films such as 21 Grams and Babel, I want to explore an approach in which music is treated as one of the constitutive elements of a film's narrative, formal and rhythmic structure, with its affective impact coming as a welcome 'pay-off' from its integration into a film's structure, and not as a result of exploiting music's affective properties through clichéd strategies designed to produce predictable responses.  }},
  source = {IRIS}
}