Music and Sound in Documentary Film (Routledge Music and Screen Media Series)
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This collection of fourteen essays provides a rich and detailed history of the relationship between and music and image in documentary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience’s perception of reality and fiction. Exploring examples of documentary films which make use of soundtrack music, from an interdisciplinary perspective, Music and Sound in Documentary Film is the first in-depth treatment on the use of music in the nonfiction film and will appeal to scholars and students working in the intersection of music and film and media studies.
1.00’. â•‡ 4â•‡ Rakesh Sharma quoted in ibid., 55’. â•‡ 5â•‡ Nichols, ‘The Voice of Documentary’, in Film Quarterly, 36:3 (1983), 20. â•‡ 6â•‡ Stan Neuman quoted in Capturing Reality, 1’19’’. â•‡ 7â•‡ Michel Brault quoted in ibid., 1’19’’. â•‡ 8â•‡ Werner Herzog, ‘Minnesota Declaration’, at http://wernerherzog.com/main/52.html (accessed 1 September 2013). â•‡9â•‡Agnes Varda quoted in Claudia Gorbman, ‘Finding a Voice: Varda’s Early Â�Travelogues’, in Substance: A Review of Theory and Literary
newsreel-style sequences are accompanied by light instrumental music. Despite the absence of diegetic sound in many other scenes, the film immediately recuperates any sense of alienation by emphasising the city as a communal space. The final scene of the film follows a visual transition between bright liquid iron ore, a montage of bright advertising signs for large Düsseldorf businesses and a superimposition onto paper lanterns, which cues in the St Martin’s Day children’s procession. The
Hall of the Mountain King (1875) used over the semi-comedy of a policeman being involved in a ‘hide and seek’ Â�relationship with team members as they wait for dawn on the day of the attempt (a sequence which becomes comic through the music). There is the bright, snappy disco pulsing of A Fifth of Beethoven by Walter Murphy and the Big Apple Band (1976), placed across the first surveillance of the building after the team’s arrival in New York. In these instances, music has an important structural
promenade. The images are a mix of blacks and yellows. They show shadows playing over the rippling water, while the bathing bodies, in their stillness and posture, almost resemble corpses. Flares appear in the sky, falling slowly down. The soldiers stand up and walk out from the sea with only their dog tags on, gathering their weapons (figure 7.2). We see their emergence from a side view, moving in apparent slow motion and then, as they are silhouetted, putting on their clothing. From a viewpoint
understood piece. Rather than Greenwood’s rather ponderous humour, which might almost be construed as laughing at the primitive living conditions of the islanders, British Sea Power’s music is darker, perhaps suggesting something of the austere living situation which dictates such a mode of housing. In fact, this is one of the crucial differences between the two soundtracks: Greenwood’s score is far ‘lighter’, embracing humour on a number of occasions as well as sounding upbeat and jokey, even