Music and Sound in Documentary Film

Rogers, Holly

doi:10.4324/9781315851556

Cited by 11 publications

(4 citation statements)

References 13 publications

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“…Films are often accompanied by overlying music, which consequently creates its own atmosphere (Amir & Cohen 2007). According to Rogers (2015), the role of sound (e.g. music) in a documentary is important in developing the construction of meaning since sound offers the possibility for interpretations that remain invisible when the audience uses only the eye.…”

Section: Literature Reviewmentioning

confidence: 99%

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House-made Writing Style Guide: Reflecting on the Practice Around Academic Text Writing in an Indonesian University Context

Basthomi¹

2019

Proceedings of the Fifth Prasasti International Seminar on Linguistics (PRASASTI 2019)

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Regarding the issue of independent documentary, the key question to be considered is whether the message conveyed to target groups or intended audiences is fully achieved. The usage of soundtracks to convey the message of an independent documentary is seen as an added value for audiences to digest the producers' idea. Zettl (2014) put the cultural, ideology and technological narrative message of the production based on soundtracks analysis (focused only on lyrics) as part of the narrative in soundtracks. Using an independent documentary 'The Last Communist (2006)' work of Amir Muhammad, this article discusses the 'reading' of soundtracks. These soundtracks represents the producers' idea and constructs a connotation meaning for audiences to consume as they want. The soundtracks are highly posed and are set in descriptive meaning to make them relevant across the globe. They represent actual places or tragedy, and they document witness, which symbolically represents moods such as 'contentment' and 'freedom'. This study implied a focus group discussion with informants that consider as the fourth industrial generation (4IR) whom have watched 'The Last Communist (2006)'. The topic of discussion is focused only on the soundtracks (focused only on lyrics). It is debatable that soundtracks reading cannot be described adequately in formal terms only. Rather, they are considered to be visual representations of metaphorical thoughts or concepts and the changing of time and mass. The implication will then be the ability to add more natural presentation and make the independent documentary more appealing. This study suggests the selection of soundtracks by a producer that represents cultural, ideology and technological elements and how they have affected the reading of the fourth industrial generation (4IR) group, thereby making this independent documentary as a byproduct quietly injecting the historiography and the struggle of the communists.

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Section: Literature Reviewmentioning

confidence: 99%

“…Music (song) in the film speaks what can't speak or at least what can't be understood clearly by the film as the role of music organizes an effective response to the media content (e.g. film, documentary) which makes the editing bind accordingly (Rogers 2015).…”

Section: Literature Reviewmentioning

confidence: 99%

House-made Writing Style Guide: Reflecting on the Practice Around Academic Text Writing in an Indonesian University Context

Basthomi¹

2019

Proceedings of the Fifth Prasasti International Seminar on Linguistics (PRASASTI 2019)

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“…As Holly Rogers notes, it is because of this notion of authenticity that sometimes a cautious use of creative sounds was advocated and prescribed. As a mode of inquiry, generally adhering to the rules of "minimum creative intervention", 5 documentary filmmaking traditionally tends to avoid any soundtrack that might get in the way of the full manifestation of this impression of authenticity referred to by Nichols as a core characteristic of non-fiction movies. The soundtrack, often associated with fiction films and mass-market products, can be superfluous.…”

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confidence: 99%

“Feeling comes first.” Music and Sounds as Entertaining Forces in The City, The River

Salvi¹

2019

inmedia

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“…[10] With the advent of sound, an unseen, authoritative narrator replaced the use of intertitles. [11] Released once or twice weekly depending on the national context, commercial newsreels were included as standard fare in block-booked feature film programs in cinemas across the world. [12] Newsreels as a genre not only reached mass audiences, they also transformed them into a subject whose collectivity could be depicted on screen.…”

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confidence: 99%

Social Media and the New Newsreel

Levin¹

2018

median

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The online circulation of raw footage from live streams, cell phones, and police dash-cams has fueled much political dissent in recent years, from Occupy Wall Street to the protests surrounding the deaths of Michael Brown, Eric Garner, Sandra Bland, and others. This essay looks at experimental moving image works made in response to these contemporary dynamics of protest. It offers a comparative analysis of short digital videos by Jem Cohen and Alex Johnson, both of whom embrace the newsreel as a radical genre, making direct reference to earlier generations of filmmakers who did the same. Cohen’s Gravity Hill Newsreels (2011) offer a series of immersive observational studies of the Occupy demonstrations and Zuccotti Park encampment. In a more directly referential mode, Johnson’s Now! Again! (2014) appropriates Santiago Alvarez’s Now! (1965), a Cuban newsreel made by animating photographs depicting the civil rights struggle. Johnston juxtaposes this imagery with media coverage of protests in Ferguson, Missouri after the death of Michael Brown in August 2014. Fifty years ago, radical filmmakers of Alvarez’s generation urged newsreel audiences to recognize themselves as a social body, sharing a stake in the struggles depicted on screen. Today, the currency of “newsreel” as a political mode of experimental media is less certain. Although the experimental videos at issue here could be read as nostalgic for conditions of cinematic exhibition long since eclipsed by the dominance of social media, I argue instead that they engage the current mediation of political unrest in order to explore the indeterminacy of the social body to which it gives rise. Calling attention to rifts in the visual field and the seams that bind one historical moment to another, these works are guided by a desire to grasp the historicity of newsreel as a form enlisted to play a participatory role in social protest. In each case, newsreel provides new forms for responding to urgent events that cut against the temporality and visual codes of social media, opening up new space to share the world differently.

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Music and Sound in Documentary Film

Cited by 11 publications

References 13 publications

House-made Writing Style Guide: Reflecting on the Practice Around Academic Text Writing in an Indonesian University Context

House-made Writing Style Guide: Reflecting on the Practice Around Academic Text Writing in an Indonesian University Context

“Feeling comes first.” Music and Sounds as Entertaining Forces in The City, The River

Social Media and the New Newsreel

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