Sensing Time and Space through the Soundtracks of Interstellar and Arrival

John Richardson, Anna-Elena Pääkkölä, Sanna Qvick

Tutkimustuotos: Artikkeli kirjassa/raportissa/konferenssijulkaisussaLukuTieteellinenvertaisarvioitu

1 Sitaatiot (Scopus)

Abstrakti

This chapter discusses the recent science fiction films Interstellar (2014; music by Hans Zimmer) and Arrival (2016; music by Jóhann Jóhannsson) as benchmarks for new ways of configuring the listening body in time and space. These films are characterized by soundtracks that emphasize visceral as much as audiovisual involvement. Both draw on influences from postminimalism and electronic music with historical allusion to produce sonic end results that convey a texturally rich but semantically impervious sense of the otherworldly. Our analyses draw on theories of multisensory cinema to explain how the soundtracks create experiences of altered time and space. While evoking a sense of monumentalism reminiscent of tropes of the sublime, the music of these films communicates also optimism about futures where conflict and ecological shortsightedness give way to something more intuitive and all encompassing.

AlkuperäiskieliEnglanti
OtsikkoThe Oxford Handbook of Cinematic Listening
ToimittajatCarlo Cenciarelli
KustantajaOxford University Press
Luku19
Sivut385-406
ISBN (elektroninen)9780190853617
ISBN (painettu)9780190853617
DOI - pysyväislinkit
TilaJulkaistu - 1 tammikuuta 2021
OKM-julkaisutyyppiA3 Kirjan osa tai toinen tutkimuskirja

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