The Shark in the Music
Identifieur interne : 000153 ( Main/Exploration ); précédent : 000152; suivant : 000154The Shark in the Music
Auteurs : Giorgio BiancorossoSource :
- Music Analysis [ 0262-5245 ] ; 2010-03.
English descriptors
- Teeft :
- Allgemeines handbuch, Amity island, Bernard music, Biancorosso, Blackwell, Blackwell publishing, Cambridge university press, Camera movement, Caryl flinn, Chicago press, Chrissie, Cinema, Clarendon press, Complex discovery plot, Ctional, Ctional fear, David neumeyer, Donnelly, Figs giorgio biancorosso, Film music, Formal features, Giorgio, Giorgio biancorosso, Hans beckert, Harvard university press, Hayward, Horror film, Horror genre, Imaginative perception, Indiana university press, James buhler, John libbey, Joshua walden, Kassabian, Lydia goehr, Manifold aspects, Mountain king, Music analysis, Musical examples, Musical representation, Neil lerner, Nicholas cook, Nigel andrews, Nineteenth century, Ombra music, Opening credits, Original version, Oxford university press, Particular kind, Personal communication, Philip hayward, Pictorial representation, Princeton university press, Radical inequality, Representational, Representational content, Rhythmic subdivision, Richard wollheim, Same time, Science fiction cinema, Second half, Selective attention, Separate experiences, Shark, Shark attack, Shark motive, Shark touches, Sound effect, Swimmer, Syncopated variant, Title sequence, Title theme, Underwater shot, Unknowing swimmer, Unseen presence, Wesleyan university press, Wollheim, Young woman.
Abstract
This article proposes a new understanding of dramatic scoring by revisiting the sequence of the notorious first shark attack in the horror film Jaws (1975). The success of the sequence, it is argued, turns on a bold and sophisticated use of preparatory material in the minutes preceding the attack. It is also suggested that, during the attack proper, it is the role of memory and the limits of attention that underpin the viewer‐auditor's response to John Williams's famous motive. Drawing on the work of Richard Wollheim on the phenomenology of painting, it is proposed that the spectator ‘hears‐in’ the music, and to buttress this central claim various articulations of the notion of ‘hearing‐in’ are offered in the course of the discussion. The article ends with a rebuttal of the idea that music is heard unconsciously or subliminally.
Url:
DOI: 10.1111/j.1468-2249.2011.00331.x
Affiliations:
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The success of the sequence, it is argued, turns on a bold and sophisticated use of preparatory material in the minutes preceding the attack. It is also suggested that, during the attack proper, it is the role of memory and the limits of attention that underpin the viewer‐auditor's response to John Williams's famous motive. Drawing on the work of Richard Wollheim on the phenomenology of painting, it is proposed that the spectator ‘hears‐in’ the music, and to buttress this central claim various articulations of the notion of ‘hearing‐in’ are offered in the course of the discussion. The article ends with a rebuttal of the idea that music is heard unconsciously or subliminally.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Biancorosso, Giorgio" sort="Biancorosso, Giorgio" uniqKey="Biancorosso G" first="Giorgio" last="Biancorosso">Giorgio Biancorosso</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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