Communicating the ideas and attitudes of spying in film music: A social semiotic approach

Griffith, Frank; Machín, David

doi:10.12697/sss.2014.42.1.04

Cited by 10 publications

(8 citation statements)

References 25 publications

(25 reference statements)

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“…Second, this paper highlights the same findings of Griffith and Machin's (2014). Both studies accentuate that there are underlying meanings beyond any musical performance.…”

Section: (57)supporting

confidence: 71%

See 1 more Smart Citation

Contradictory Significations of the Audio-Spatial Signs in Tom Stoppard's Every Good Boy Deserves Favor: A Semiotic-Cognitive Approach

Khafaga¹

2018

Egyptian Journal of English Language and Literature Studies

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“…Second, this paper highlights the same findings of Griffith and Machin's (2014). Both studies accentuate that there are underlying meanings beyond any musical performance.…”

Section: (57)supporting

confidence: 71%

“…The second relevant study was presented by Griffith and Machin (2014). This study investigated the way through which music can semiotically communicate different meanings.…”

Section: Previous Studiesmentioning

confidence: 99%

Contradictory Significations of the Audio-Spatial Signs in Tom Stoppard's Every Good Boy Deserves Favor: A Semiotic-Cognitive Approach

Khafaga¹

2018

Egyptian Journal of English Language and Literature Studies

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“…As such, this article draws from an interdisciplinary body of literature, principally film music studies (e.g. Scheurer, 1998Scheurer, , 2005Laing, 2007;Cooke, 2008;Griffith & Machin, 2014;Howell, 2015), that has better delineated the components of instrumental film score. Building on these - Griffith and Machin (2014), in particular -this article explores how instrumental film score affects across three registers: the stylistic, the kinetic and the associational.…”

Section: Film Score and The Geopolitics Of Instrumental Musicmentioning

confidence: 99%

“…Scheurer, 1998Scheurer, , 2005Laing, 2007;Cooke, 2008;Griffith & Machin, 2014;Howell, 2015), that has better delineated the components of instrumental film score. Building on these - Griffith and Machin (2014), in particular -this article explores how instrumental film score affects across three registers: the stylistic, the kinetic and the associational. The first refers to the 'intertextuality' of instrumental music, such as the association of minor key jazz music with crime, sleaze, sex and race -the feature of instrumental music that requires, perhaps, the greatest learning.…”

Section: Film Score and The Geopolitics Of Instrumental Musicmentioning

confidence: 99%

Sound and fury? Film score and the geopolitics of instrumental music

Kirby¹

2019

Political Geography

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2016). Of less concern is music. Where music has been addressed, accounts generally consider lyrical rather than instrumental, treating music as another kind of meaning-rich text (Boulton, 2008;Street, 2013;Liu, An & Zhu, 2015). What is sometimes acknowledged in these analyses, but largely unexplored, is the conceptualisation of instrumental music as a mode of communication in itself -able to convey emotion, feeling, and certain understandings of space and place. In this article, an initial sounding of this area is made, focusing on instrumental, diegetic film score (music without lyrics composed to accompany film, which the audience can hear, but the film's characters cannot). 1 Drawing from wider work in human geography that has considered sound from non-representational perspectives, and film music studies, the discussion here broadens understandings of how geopolitical knowledges are produced and communicated.Film score is paradoxical. At one extreme, it is considered a method of supplementing the slower parts of a movie's narrative: "no one notices it, except that something would be missing if it were not there" (Scheurer, 1998, p. 172). At the other extreme, score is seen as central to filmmakingrequired for a great film to be great, and with the ability to save a film that might otherwise fail (Scheurer, 1998). An award for Best Score has been presented at the Oscars since 1935. More popular amongst many audiences than the classical canon, film score has been integrated into the repertoires of many international orchestras, helping to keep orchestras solvent (Kalinak, 2010). The world's leading film composers -such as John Williams, Hans Zimmer, Danny Elfmancommand salaries of up to $2 million per picture, making them competitive with leading actors and directors. In this article, the focus is on Western film score, but scores for non-Hollywood productions, including Bollywood, are becoming increasingly popular globally. Composers such as the Indian, A. R. Rahman, have blurred these divides, scoring productions around the world.Like language, music is built on units, grammars, forms of expression. For Timothy Scheurer, from the perspective of film music studies, these are "aural building blocks that, due to a host of

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“…In the context of Corden's staging strategy, music constitutes a necessary pre-condition for the utilization of resources and cultural signs whereby identity is negotiated situationally by the involved actors, as well as a key resource for cultural identity (DeNora 2005). These resources do not have a fixed meaning, but meaning potential (Griffith and Machin 2014) which is not exhausted in semiotic commutative relationships between the expression and content planes. In fact, the meaning potential of Corden's employment of music as repository of songs, as sung voice, as dance gestures and as communicative form that is not bound by propositional logic, is realized alongside pragmatic criteria.…”

Section: The Dramaturgical Scaffolding Of Carpool Karaokementioning

confidence: 99%

Carpool Karaoke: deconstructing the directly lived experience of hearing oneself singing

Rossolatos

2016

Social Semiotics

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The various ways whereby spatial conditions afford to monumentalize culture and to appropriate geographically demarcated places in terms of individual and collective meaning structures has been amply documented in urban cultural studies. However, considerably less attention has been paid to how cultural identity is produced against the background of musical temporality. By way of a phenomenological inquiry into the staged spectacle of James Corden's (the host of CBS Network's Late Late Show) Carpool Karaoke, this paper addresses the issues of directly lived experience and authenticity as facets of cultural identity. By critically discussing the assumptions of self-presence and auto-affectivity while singing and listening to one's sung voice against the background of pre-recorded songs, the notion of directly lived musical experience is put to the test. Furthermore, by examining the dramaturgical scaffolding of Carpool Karaoke, the analysis points to wider implications for post-modern cultural studies in terms of an identified ironic reversal of modernist universal criteria of legitimacy in favor of a celebration of postmodern being-with inauthentically. The analysis of the selected Carpool Karaoke corpus utilizes a resourceful blend of phenomenological method, semiotics and interpretive videography while challenging embedded orthodoxies in the extant literature.

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Communicating the ideas and attitudes of spying in film music: A social semiotic approach

Cited by 10 publications

References 25 publications

Contradictory Significations of the Audio-Spatial Signs in Tom Stoppard's Every Good Boy Deserves Favor: A Semiotic-Cognitive Approach

Contradictory Significations of the Audio-Spatial Signs in Tom Stoppard's Every Good Boy Deserves Favor: A Semiotic-Cognitive Approach

Sound and fury? Film score and the geopolitics of instrumental music

Carpool Karaoke: deconstructing the directly lived experience of hearing oneself singing

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