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Situated in several historical and scholarly contexts—Roland Barthes's discussions of image/music/text, Michel Chion's and Claudia Gorbman's scholarship on film music, Linda Hutcheon's (and others') urgings to extend adaptation scholarship beyond book and film, and Kamilla Elliott's call to disrupt the binaries of word/image literature/film—this article's main intent is to look at the role music plays in adaptation. To do so, it focuses on Maurice Sendak's 1962 Nutshell Library and the four concept books it contains (One was Johnny , Alligators All Around , Pierre , and Chicken Soup with Rice), these stories' translation to television in 1975, and their subsequent transformation into a Broadway musical in 1980. The article argues for the value of looking to texts for children in relation to adaptation studies and especially with regard to music's effects as a part of the adaptation process and product. As it does, it claims that, through music's specific abilities to intensify emotion, position emphasis, and establish sequence, it transforms the literacy lessons of Sendak's Nutshell Library , the ideologies of child agency put forward by that text, and the place of the real child in and in relation to media. In this, it highlights music's capacity to disrupt and alter the word–image relationship across books, films, and embodied performance. [ABSTRACT FROM AUTHOR]

Following the surge in global consumption of Nigerian music and film, non-African content creators are now part of the emerging group of people participating in the production and circulation of African, specifically Nigerian, popular culture on social media. This article provides a scholarly interrogation of these emerging “transracial” online enactments, with a particular focus on these performers’ use of lip-syncing to audio texts originally created by Nigerian artists. We examine the performances of three Oyibos (light-skinned foreigners) who create short videos on TikTok, arguing that through lip-syncing, each of them becomes part of networked publics built around Nigerian content and facilitated by the social media application TikTok. The article takes an audience-centred approach. Through focus group interviews with potential audiences in Nigeria, we seek to understand the meanings that Nigerian viewers (and potential members of these networked publics) derive from such clips and the transgressive play with difference that they entail. [ABSTRACT FROM AUTHOR]

In today's fluid culture, fluid economy and fluid tourism, arts festivals fulfil various and sometimes conflicting functions, but surprisingly little scholarly attention has been paid to this issue. The concern of this note is consequently to fill in this void by specifically providing, exploring and critically examining the multifaceted culture of festivalisation in the urban context. In so doing, the current study draws on two case studies namely Mawazine Festival Rhythms of the World (MFRW) and Marrakech International Film Festival (MIFF). Accordingly, while this research note brings into focus how the concept of polysystem is useful for understanding the complex interactions between different cultural systems, it also argues that a polysystemic approach can help shed light on the complex dynamic interactions between systems and subsystems; and identify the various actors and forces that shape the production and reception of cultural events in the urban milieu. [ABSTRACT FROM AUTHOR]

This article examines the relationship between tonal and narrative structures in Alfred Hitchcock's 1958 film Vertigo. I argue that this relationship is reciprocal and that Bernard Herrmann's score for the film affects the perception of the plot despite the generally accepted conventions of understanding film music as subordinate to overall cinematic structure. Using methodologies ranging from Schenkerian theory to analytical approaches to popular music, I suggest that the tonal structure unfolds in two broad episodes that segment the film and help us interpret it from the protagonist's psychological perspective through the alignment of strong cadential points with important kernel events in the plot. [ABSTRACT FROM AUTHOR]

Movie genre prediction from trailers is mostly attempted in a multi-modal manner. However, the characteristics of movie trailer audio indicate that this modality alone might be highly effective in genre prediction. Movie trailer audio predominantly consists of speech and music signals in isolation or overlapping conditions. This work hypothesizes that the genre labels of movie trailers might relate to the composition of their audio component. In this regard, speech-music confidence sequences for the trailer audio are used as a feature. In addition, two other features previously proposed for discriminating speech-music are also adopted in the current task. This work proposes a time and channel Attention Convolutional Neural Network (ACNN) classifier for the genre classification task. The convolutional layers in ACNN learn the spatial relationships in the input features. The time and channel attention layers learn to focus on crucial timesteps and CNN kernel outputs, respectively. The Moviescope dataset is used to perform the experiments, and two audio-based baseline methods are employed to benchmark this work. The proposed feature set with the ACNN classifier improves the genre classification performance over the baselines. Moreover, decent generalization performance is obtained for genre prediction of movies with different cultural influences (EmoGDB). [ABSTRACT FROM AUTHOR]

Music in Stanley Kubrick's 1968 film 2001: A Space Odyssey plays a crucial role in eliciting moods due to its sparse dialogue. Instead of using typical film score, Kubrick decided to use already existing recordings of four classical music composers. György Ligeti's compositions stand out in a stark contrast to the overall soundtrack of the film and evoke a sense of eeriness. Film's plot unfolds through four segments, each marked by an appearance of a monolith, with Ligeti's music acting as a leitmotif. Micropolyphonic textures, characterized by dense musical layering and dissonance, reflect hidden and inaudible aspects of the unknown, comparable to the vastness of outer space. [ABSTRACT FROM AUTHOR]

The purpose of the article is to substantiate the importance of orchestral music in the creation of film music content based on the definition of its synergistic properties. The research methodology is based on the principles of a system-synergistic approach (in determining the synergistic properties of orchestral music and the components of film music production), methods of analysis (in processing scientific sources on the topic), synthesis (in formulating the conceptual apparatus of the study) and generalisation (in determining the scientific novelty and results of the study). The scientific novelty of the results obtained is that the synergistic properties, functions, stages of creation and recording of orchestral music for film are determined and scientifically substantiated. Conclusions. Orchestral music is an integral and full-fledged part of a film work; it performs artistic and expressive, emotional and psychological, and hedonistic functions. When creating a high-quality film soundtrack, one should take into account the synergistic properties of orchestral music (openness, attractiveness, coherence, emergence). The success of orchestral film music production depends on the creative interaction of the participants in this process - composer, arranger, orchestra and conductor, sound engineer, music producer. [ABSTRACT FROM AUTHOR]

The purpose of the study is to reveal the figurative, semantic and symbolic specificity of the interpretation of the timbre of "Martenaut waves" in the music of the French avant-garde cinematography of the first half of the 20th century, including in the work of A. Honegger. Research methodology. Cultural-historical, interdisciplinary historicalcultural, as well as analytical-musicological methods were essential for this work. The scientific novelty of the work lies in the fact that it introduces for the first time into the circulation of art historians the materials related to the film music of A. Honegger and its timbral specificity, marked by an appeal to the semantic and expressive features of the "Martenaut waves". Conclusions. At the turn of the 19th and 20th centuries, as a result of rapid scientific and technical progress, cinematography came to the forefront of world art. The unity of cinematography as a synthetic art and music is strengthened by the emergence of sound cinema in 1926-1927, in which music is recorded on the same film as the image. The use of electric musical instruments, including "Martenaut waves", becomes organic in this process. Thanks to their unusual timbre, they acquired the meaningful status of the embodiment of "the materialisation of the intangible." The world of hallucinations and dreams, mystical spiritual revelations and unusual natural phenomena - such was the range of images that were conveyed with the help of this instrument in French film music of the 1930s and 1940s. A. Honegger worked most fruitfully in this field during the mentioned period, whose creative output includes more than forty soundtracks, including those using "Martenaut waves". One of the first films in which the expressive timbre of this instrument is used was the science fiction film "The End of the World" (1931) directed by A. Gans, as well as the animated film "Idea" (1934) directed by B. Bartosh and artist F. Mazerel. In the musical accompaniment of these films, the timbre of the "Martenaut waves" occupies almost the most important place, revealing the connection of the instrument with the sphere of the Sacred and the Cosmic and the spiritual and stylistic searches of European modern culture. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of AugenBlick is the property of Schueren Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Hypergraph neural network (HGNN) for session-based recommendation (SBR) is quite rare but has been rewarded with promising performance. However, under the hypergraph framework, no works have emphasized the importance of repeat consumption, which is an important consumption pattern in SBR (e.g., people watch movies or listen to music repeatedly over time) and limits the performance of SBR in a beyond graph topology manner. For filling this gap and better recommendation performance, this paper incorporates repeat consumption into HGNNs and proposes a new recommendation machine, named Re-HGNM, which leverages the powerful expressiveness of HGNNs in representation learning and takes repeat consumption into account by considering the relationship between repeat behaviors and modeling repeat recommendations. Specially, in the encoder of Re-HGNM, we process sessions as hyperedges, in which the repeated behaviors are merged, to constitute hypergraph that conveys not only the complex relations between unique items but the relationships between repeat behaviors. After learning item representation by hypergraph convolution, a repeat-explore module is employed to determine whether to make repeat recommendation. In repeat mode, the next click must be in old items; thereby, the shrunk prediction space makes it easier to find the target item. Therefore, in the decoding stage, two decoders correspondingly work under two separate modes. Finally, compared with the current best baseline, Re-HGNM relatively improved P@20 by 58.37%, 8.70%, 1.28%, and 1.16% and MRR@20 by 25.52%, 10.31%, 10.76%, and 2.76% on the Tmall, RetailRocket, Nowplaying, and Diginetica, to be the current state-of-the-art model for SBR. [ABSTRACT FROM AUTHOR]

This article examines the emergence of film culture in Tripura, Northeast India, with a focus on Kokborok and Bengali-language films and music videos. These productions reflect the sociopolitical context of Tripura and serve as expressions of identity, resistance, and hybridity. The article discusses the challenges faced by filmmakers in Tripura, the role of technology in shaping the industry, and the cultural significance of these films. It also explores the historical and demographic context of Tripura and the cultural connections between Bengali-speaking communities across regions and nations. The article argues for the importance of studying films in minor Indian languages to address cultural exclusion and offer alternative perspectives on Indian cinema. [Extracted from the article]

Pulp Fiction: Music from the Motion Picture was released in 1994 in coordination with the film Pulp Fiction (1994). Across the film's soundtrack album, variously considered an auteur mixtape, a compilation score, and its own rich text, music formulates a cast of characters alongside those more recognizable from the film's story. Critical analysis reveals multiple and multiply associative and disassociative personalities that afford innovative approaches to the role of the soundtrack and sound-plus-visual imagery in Pulp Fiction. [ABSTRACT FROM AUTHOR]

The purpose of the article is to provide a scientific substantiation of the essence and significance of arrangement in film music scoring. The methodology of research is based on the integrated application of methods of analysis, comparison, generalisation, and systematisation. The scientific novelty of the results obtained is that the essence of arrangement as a process and result of creative adaptation of film music is substantiated; the main aspects of classical arrangements, that should be taken into account by a film composer when creating an electronic score, is defined; artistic and aesthetic principles of film music arrangement are proposed. Conclusions. Arranging music for a film is a complex creative process based on the principles of symphonism and carried out by means of instrumentation, transcription, compilation, and composition of musical material. The main methods of arrangement are harmonisation and instrumentation of new compositions and creation of original interpretations of well-known musical works in modern styles. Arranging film music involves a combination of classical composition and instrumentation techniques with modern music computer technologies, which contributes to the creation of high-quality music content. [ABSTRACT FROM AUTHOR]

The book "Ethics of Appropriation" by Jens Balzer deals with the issue of cultural appropriation. Balzer critically discusses cultural exploitation and can be associated with Critical Whiteness Studies. He defines appropriation as the appropriation of something foreign for personal profit and criticizes the separation of cultures and the creation of stereotypes. Balzer points out that there are good and bad forms of appropriation and sheds light on the problem of representations in film and music that can involve racism and exploitation of minorities. He calls for a critical engagement with one's own privileges and tries to create understanding for the historical classification of childhood memories. [Extracted from the article]

The article focuses on the cue sheets of music compiler James C. Bradford and their historical significance in silent film music accompaniment. Topics include the neglect and misconceptions about cue sheets, extensive repertory reflected in newly compiled data, and their role in connecting past and present film music practices. It reports that cue sheets the creation of a comprehensive Excel database, and it highlights the collaborative nature of musical accompaniment revealed by cue sheets.

The article focuses on the interpretation and cataloguing of stock music for silent films through data analysis, pathos formulae, and new cataloguing practices. Topics include the historical neglect of stock photoplay music in musicological studies, the creation of a digital collection at the Library of Congress. It reports that stock photoplay music has been under-studied, it mentions the development of the Silent Film Scores and Arrangements digital collection.

The article focuses on the significance and historiographical challenges of salon music in silent films. Topics include the under-investigation of salon music despite its historical importance, its role as a link between 19th-century highbrow music and 20th-century popular genres, and its contribution to musical compilations for silent films. It mentions its international character and circulation, and it highlights the need for an analytical study to acknowledge its historical importance.

The article focuses on the historiographical challenges and importance of photoplay music from the silent film era. Topics include the scarcity of original handwritten scores, the proliferation and significance of stock photoplay music collections, and the necessity of an interdisciplinary approach. It reports that many original scores are lost, it mentions the prominence of Italian film score composer Giuseppe Becce's Kinothek, and it highlights the need for new historiographical methods.

Although women comprised the majority of American cinema accompanists during the silent film period (c. 1895–1927), few of their music libraries or compositions have survived, whereas collections created by male cinema musicians dominate the silent film music archives. Women musicians suggested, shaped, and helped define the musical tastes of the time; educated listeners; and showed how music could serve as a creative, narrative, and interpretative force in the cinema. I offer an accounting of extant collections by women accompanists and read their contents and contexts from a feminist perspective. Using hints and fragments found in letters, period trade journals, and catalogs, I then speculate on an imaginary archive, one that collects music composed or played by female silent film musicians whose work has been lost to us, but whose influence in the development of film music is unmistakable. [ABSTRACT FROM AUTHOR]

Graph-based cross-domain recommendations (CDRs) are useful for suggesting appropriate items because of their promising ability to extract features from user–item interactions and transfer knowledge across domains. Thus, the model can effectively alleviate cold start and data sparsity issues. Although the graph-based CDRs can capture valuable information, they still have some limitations. First, embeddings are highly vulnerable to noisy interactions, because the message aggregation in the graph convolutional network can further enlarge the impact. Second, because of the property of graph-structured data, the influence of high-degree nodes on representation learning is more than that of the long-tail items, and this can cause a poor recommendation performance. In this study, we devised a novel Adaptive Adversarial Contrastive Learning framework for graph-based Cross-Domain Recommendation (ACLCDR). The ACLCDR introduces reinforcement learning to generate adaptive augmented samples for contrastive learning tasks. Then, we leveraged a multitask training strategy to jointly optimize the model with auxiliary tasks. Finally, we verified the effectiveness of the ACLCDR through nine real-world cross-domain tasks adopted from Amazon and Douban. We observed that ACLCDR exceeded the best state-of-the-art baseline by 25%, 42.5%, 16.3%, and 23.8% in terms of HR@10 and NDCG@10 for the Music & Movie task from Amazon. [ABSTRACT FROM AUTHOR]

This article analyses how transnational co-productions render Irish history audio-visually by comparing the soundtracks of Some Mother's Son (1996) and The Wind that Shakes the Barley (2006). The puzzle is whether history films can enhance immersive perceptual experiences of place by using local music, while catering to the audiovisual skills and expectations of global audiences. The study compares Bill Whelan's and George Fenton's respective soundtracks. On the one hand, Whelan's avowedly Irish soundtrack performed by the Irish Film Orchestra with virtuosos from the Riverdance Orchestra crowds the images and prescribes audience feelings. On the other, Fenton lightly melds classical film orchestration with Irish melody and instrumentation and The Wind that Shakes the Barley blends diegetic singing with its more spacious soundtrack. The conclusion is that combining local instruments and diegetic song with limited cinematic orchestration succeeds better than neo-traditional instrumentation in screening Irish history. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents selected German film music composers who were active in Germany during the inter-war period as musicians trying to regain their position and renegotiate their role in the German post-war society marked by trauma and transition processes. Film music composers were believed to have stayed above politics and associated with a “harmless” type of music; therefore, they could adapt to the new situation comparatively more easily, particularly since the Allies had already treated musicians ambivalently. While pinpointing the reasons behind such a lenient attitude towards film music composers, the paper also touches on those rare cases when film music composers were actually accused of supporting the Nazi system [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article investigates how national artistic ideologies of German-ness and Austrian-ness were incorporated in Hollywood film music of the 1930s and 1940s and in the general discourse in the American press. It argues that these stereotypes were indeed important in Hollywood's marketing strategies toward the middlebrow, which emerged as a wealthy branch in America's society at the time. Among these strategies was the promotion of film music as a 'serious' art form that was historiographically grounded in a 'German' art music tradition, in contrast to 'Austrian' light musical entertainment. [ABSTRACT FROM AUTHOR]

Purpose: Despite the use of perioperative anxiolytics and pain medication, surgery can be a stressful and painful experience. Providing patients with distractions using video and/or audio tools in addition to medication may be helpful. To date, no studies have compared different distraction modalities in a same-day surgical setting in adults. This study aims to determine whether audio-visual distraction with video glasses (AVD) is more effective in reducing anxiety and pain compared to audio distraction (AD) in conscious patients undergoing orthopaedic surgery. It was hypothesised that AVD, being the more immersive modality, would be more effective than AD on the outcome parameters. Methods: Fifty patients undergoing orthopaedic surgery with local and/or regional anaesthesia in a clinical day-care setting were randomly assigned to receive either fixed-scenery AVD or patient-choice AD with music. Primary outcome was anxiety, as measured by the Dutch version of the Spielberger State–Trait Anxiety Inventory-6 (STAI-6) prior to and 15 min after the intervention. Secondary outcomes were pain (Numeric Rating Scale Pain [NRS-P]), systolic and diastolic blood pressure, heart rate and patient satisfaction. Results: Within each group, there was a significant reduction in anxiety (p = 0.028 for AVD, p < 0.001 for AD). In contrast to our hypothesis, listening to music without watching a video (AD group) reduced anxiety significantly more than experiencing full AVD (p = 0.018). The mean pain score did not change significantly within either user group, nor did pain scores differ between user groups. Conclusion: In conscious patients undergoing surgery, watching a movie (using video glasses and a headphone set) and listening to music (using only a headphone set) are able to significantly reduce anxiety. AVD, although believed to provide higher levels of distraction, did not prove to be superior to AD. The clinical relevance of this study highlights the potential benefits of AVD or AD modalities in improving the surgical experience for conscious patients. Further research is required to examine the influence of freedom of choice in content on the aforementioned outcomes. To estimate the true value of higher immersion levels, different distraction modalities (e.g. AVD versus virtual reality) featuring the exact same scenery or content need to be compared. Level of evidence: Level I. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Film Studies / Türkiye Film Araştırmaları Derneği is the property of Turkish Journal of Film Studies / Turkiye Film Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The impact of urban violence on society has been the subject of several studies, but the consequences of fear for habits of cultural consumption are missing in cultural economics research. This article investigates whether the fear of urban violence explains individuals' choice between different options of cultural participation with a particular focus on the activities of watching movies and listening to music. Based on individual data from a survey conducted in 2019 with 1211 residents from a conglomeration of sixteen favelas (slums) located in the Maré neighbourhood in Rio de Janeiro (Brazil), this study employs Simultaneous Bivariate Ordered Probit Models to verify the association between individuals' fear of violence and their choice of consuming culture in private or public spaces. Controlling for socioeconomic, demographic, and territorial variables, the findings indicate that consuming culture in private spaces is a substitute for public spaces when individuals are more afraid of violence. The results presented in this work provide evidence for the design and implementation of policies targeting territories impacted by high levels of violence. [ABSTRACT FROM AUTHOR]

Filmmaker and director Spike Lee famously features popular music in his films, often incorporating compilation soundtracks that function as sonic narrative devices, sometimes alongside original scores. Through analysis of three of Lee's films based on true stories—Malcolm X (1992), Crooklyn (1994), and BlacKkKlansman (2018)—and their soundtracks, it is evident that Lee's use of popular music in his historical films not only situates the works in their respective time periods, but also emphasizes the relevance of each film narrative in American history, both past and present. [ABSTRACT FROM AUTHOR]

The early sound film and "classical-style" Hollywood film periods were important representatives in the history of Hollywood films, producing many classic films as well as many famous film music composers. Among them, Bernard Herrmann was a unique and distinctive representative with his own personal compositional style, and was also the representative composer for thriller, horror, mystery and science fiction films during this period. When analyzing film music, especially Bernard Herrmann's works, using tonal music analysis, many harmonic progressions cannot be accurately expressed. Harmonic function analysis emphasizes the principles of tonality, while neo-Riemannian theory breaks away from the framework of tonality and harmonic functions, emphasizing the spatial progression between chords. For Bernard Herrmann's music, using neo-Riemannian theory can reasonably analyze the characteristics and patterns of musical progression, and explain many chord progressions that harmonic functions cannot. One of the films that can be given as an example of this situation is The Day the Earth Stood Still (1951). The Day the Earth Stood Still is a Hollywood science fiction film made in 1951. This work played an important role in the development of later science fiction films. Bernard Herrmann chose to abandon the traditional orchestral instrumentation and used a specific instrumental ensemble to form Herrmann's unique science fiction film music space. Transformational analysis shows that the music uses modes, hexatonic scales and octatonic scales to form melodies and harmonies with ambiguous characteristics, and the use of these modes and scales also provides important color elements for film music of specific styles. Neo-Riemannian theory has been around for less than 50 years. As an emerging music theory system, it is not yet mature and complete, and is still expanding and improving. However, as an analysis tool for nonfunctional tonal film music, it can provide a brand new perspective. This researcher also believes that neo-Riemannian theory can provide theoretical basis for analyzing various styles of film music as an analytical tool. [ABSTRACT FROM AUTHOR]

The ability of music to induce emotions has been arousing a lot of interest in recent years, especially due to the boom in music streaming platforms and the use of automatic music recommenders. Music Emotion Recognition approaches are based on combining multiple audio features extracted from digital audio samples and different machine learning techniques. In these approaches, neuroscience results on musical emotion perception are not considered. The main goal of this research is to facilitate the automatic subtitling of music. The authors approached the problem of automatic musical emotion detection in movie soundtracks considering these characteristics and using scientific musical databases, which have become a reference in neuroscience research. In the experiments, the Constant-Q-Transform spectrograms, the ones that best represent the relationships between musical tones from the point of view of human perception, are combined with Convolutional Neural Networks. Results show an efficient emotion classification model for 2-second musical audio fragments representative of intense basic feelings of happiness, sadness, and fear. Those emotions are the most interesting to be identified in the case of movie music captioning. The quality metrics have demonstrated that the results of the different models differ significantly and show no homogeneity. Finally, these results pave the way for an accessible and automatic captioning of music, which could automatically identify the emotional intent of the different segments of the movie soundtrack. [ABSTRACT FROM AUTHOR]

From concept to completion, music was integral to Greta Gerwig's 2019 non-linear adaptation of Louisa May Alcott's classic novel Little Women, a story which traces the trials and tribulations of the four March sisters as they come of age in 1860s Massachusetts. As writer and director, Gerwig's musical sensibilities position her as a mélomane and a cinematic verbalist. These descriptors pertain to the rhythmically notated dialogue, the musical invigoration of Beth March and how this sister's musical characterization extends to Alexandre Desplat's original score via his use of the piano. To appreciate the broader narrative, representational and filmgoing effects of Gerwig's musical sensibilities, this article explores how music is evinced in the script and realized for the screen. [ABSTRACT FROM AUTHOR]

Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in past screenplays, sounds can again be written side by side in tandem with yet independently from images. Finally, the article makes original emendations to the classical master scene format for writing dominant sounds that fill a scene as well as indications for movie music. At a time when both film production and the screenplay itself are being transformed, this essay rejuvenates both film scholarship and practice by bridging historical traditions with practical innovations for screenwriting sound. [ABSTRACT FROM AUTHOR]

Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production – the screenplay – has often been overlooked in the exploration of sound and music integration. Concurrently, studies on screenwriting have displayed limited interest in the acoustic dimensions of film, creating a research gap where film music studies intersect with screenwriting studies. This Special Issue aims to address this gap by emphasizing the screenplay's importance in comprehending the role of sound and music in film. This introduction showcases the diverse ways in which music and sound are integrated into screenplays. The ongoing exploration of screenplays for the analysis of sound and music sets the stage for future research endeavours. The editors and authors of this Special Issue advocate for the screenplay as a valuable resource in film music studies, providing innovative insights into the film production process. [ABSTRACT FROM AUTHOR]

There is growing evidence that music can induce a wide range of visual imagery. To date, however, there have been few thorough investigations into the specific content of music-induced visual imagery, and whether listeners exhibit consistency within themselves and with one another regarding their visual imagery content. We recruited an online sample (N = 353) who listened to three orchestral film music excerpts representing happy, tender, and fearful emotions. For each excerpt, listeners rated how much visual imagery they were experiencing and how vivid it was, their liking of and felt emotional intensity in response to the excerpt, and, finally, described the content of any visual imagery they may have been experiencing. Further, they completed items assessing a number of individual differences including musical training and general visual imagery ability. Of the initial sample, 254 respondents completed the survey again three weeks later. A thematic analysis of the content descriptions revealed three higher-order themes of prominent visual imagery experiences: Storytelling (imagined locations, characters, actions, etc.), Associations (emotional experiences, abstract thoughts, and memories), and References (origins of the visual imagery, e.g., film and TV). Although listeners demonstrated relatively low visual imagery consistency with each other, levels were higher when considering visual imagery content within individuals across timepoints. Our findings corroborate past literature regarding music's capacity to encourage narrative engagement. It, however, extends it (a) to show that such engagement is highly visual and contains other types of imagery to a lesser extent, (b) to indicate the idiosyncratic tendencies of listeners' imagery consistency, and (c) to reveal key factors influencing consistency levels (e.g., vividness of visual imagery and emotional intensity ratings in response to music). Further implications are discussed in relation to visual imagery's purported involvement in music-induced emotions and aesthetic appeal. [ABSTRACT FROM AUTHOR]

After its establishment, cinema had to compete with other popular forms of entertainment in Spain, such as musical theater and variety shows, in which the cuplé stood out. This article explores the presence and significance of cupletistas in silent films, examining the relationship between cinematic performance and music, the use of the artists' sexualized bodies, and the performative dimension of cuplés to cinematic narrative. [ABSTRACT FROM AUTHOR]