Musical Cachet in New Queer Cinema.
Recent scholarship has looked closely at the role of music supervision in creating soundtracks for motion pictures. Independent niche market cinema, in particular, has moved away from the use of dedicated composers in favour of recognisable licensed music that inexpensively and expediently provides...
| Publicado en: | Music, Sound & the Moving Image Vol. 8; no. 1; pp. 25 - 57 |
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| Formato: | Film/TV Criticism and Review |
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Liverpool University Press / Journals
Spring2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=108622398&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 108622398 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Spring2014 vid: 8 iid: 1 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 108622398 10.3828/msmi.2014.2 ppf: 25 ppct: 32 formats: fmt: @attributes: type: P size: 2.2MB tig: atl: Musical Cachet in New Queer Cinema. aug: au: CURTIS DUBOWSKY, JACK su: Living End, The (Film) Araki, Gregg Motion picture music LGBTQ+ films Motion pictures, 1991-2000 Electronic dance music sug: subj: Living End, The (Film) Araki, Gregg Motion picture music LGBTQ+ films Motion pictures, 1991-2000 Electronic dance music ab: Recent scholarship has looked closely at the role of music supervision in creating soundtracks for motion pictures. Independent niche market cinema, in particular, has moved away from the use of dedicated composers in favour of recognisable licensed music that inexpensively and expediently provides a certain cachet for audiences. This article examines the use of such licensed music in New Queer Cinema, using Gregg Araki's The Living End as an example to illustrate how budget, cachet, and effectiveness are balanced. Cachet indicates how music resonates with an intended audience and represents audience affinities. Effectiveness, or how reactive music is to onscreen action, is often sacrificed when deploying licensed tracks, simply because this music was not scored to picture. Industrial club music popular in Araki's queer Los Angeles circle and used in The Living End sets mood and pacing, but many dramatic traditions and possibilities of underscore are lost. This article defines and triangulates budget, cachet, and effectiveness in order to create a practical model that illustrates how filmmakers reconcile these concerns within the production process. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Music, Sound & the Moving Image is published by Liverpool University Press, and its content may not be copied or emailed to multiple sites or posted to a listserv without Liverpool University Press's express written copyright permission. However, users may print, download, or email articles for individual use. item: Music, Sound & the Moving Image holder: Liverpool University Press / Journals dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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