One Does Not Simply Walk into Mordor: Sound and Music as Suture in the Opening Sequences of Peter Jackson's Middle-earth Films.
The opening sequences of narrative films are perhaps the most important moments for establishing a coherent film-world and drawing a viewer into a space and time often quite different from their own, and yet these moments remain largely untheorised within film studies and film music theory in partic...
| Publicado en: | Music, Sound & the Moving Image Vol. 14; no. 2; pp. 93 - 118 |
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| Formato: | Artículo |
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Liverpool University Press / Journals
Autumn2020
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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=148182085&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 148182085 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Autumn2020 vid: 14 iid: 2 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 148182085 10.3828/msmi.2020.7 ppf: 93 ppct: 25 formats: fmt: @attributes: type: P size: 529KB tig: atl: One Does Not Simply Walk into Mordor: Sound and Music as Suture in the Opening Sequences of Peter Jackson's Middle-earth Films. aug: au: WHITE, DANIEL su: Jackson, Peter, 1961- Sutures Film studies Hobbit, The (Book : Tolkien) Music theory Motion picture music Film theory Paratext sug: subj: Jackson, Peter, 1961- Sutures Film studies Hobbit, The (Book : Tolkien) Music theory Motion picture music Film theory Paratext ab: The opening sequences of narrative films are perhaps the most important moments for establishing a coherent film-world and drawing a viewer into a space and time often quite different from their own, and yet these moments remain largely untheorised within film studies and film music theory in particular. This article analyses the uses of music and sound in the opening sequences of Peter Jackson's Middle-earth trilogies: The Lord of the Rings (2001–2003) and The Hobbit (2009–2011). The paratextual nature of opening sequences might lead us to understand them as theoretical gateways or airlocks, but it is the psychoanalytical concept of suture that proves most effective in theorising music's dual roles in drawing an audience into a film-world and simultaneously building that world around them. This paper's motivic and harmonic investigation draws particularly on Scott Murphy's theories of transformational analysis to understand the different ways that musical language can be established as a form of cinematic suture. pubtype: Academic Journal doctype: Article 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: 2020 holdings: @attributes: islocal: N |
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