Music In The Movies Experiencing Something New

Music In The Movies: Experiencing Something New Essay, Research Paper

Question:.For the elements of music are not tones of such and such a pitch, duration and loudness, nor chords and measured beats; they are like all artistic elements, something virtual, created for perception . . .sounding forms in motion.. [Suzanne Langer, Feeling and Form (1952), p.107].

The success of music in film relies on the perceptions and interpretations of audiences based on their social experiences. Discuss.

Response to Question:The function of film music is not easily defined. Film music is often associated with realizing the social experiences of the audience, such associations then leading into psychological and aesthetical discussion. Whether or not film music is examined as an analyzable art form, it is part of an audiovisual system that allows spectators to escape. If this is so, music is subliminal in the sense that it unconsciously prepares the spectator for the means by which to do so. Cinema events can allow audiences to perceive reality in a passive framework and therefore, the success of film music does not heavily rely upon interpretations of viewers. social experiences. More to the point is the fact that film music allows a virtual reconstruction of .experience. along with the proposal of new ones.

If cinema accommodates the invention of virtual social experiences, then by what means does the music contribute to this. An understanding of the relationship between music and the cinematic world of the .make believe. will help to answer this question. Film music can allow far-fetched ideas to become plausible. Alien attacks, shootings, murders and court room hearings are not usually associated with the vocabularies of our everyday social experiences, so how can cinema extrapolate such experiences so realistically. Music certainly has an important role.

Suzanne Langer discusses in depth the associations between music and time. She suggests that:

Music creates and image of time measure by the motion of forms that seem to give it substance, yet a substance that consists entirely of sound, so it is transitoriness itself. Music makes time audible, and its form and continuity sensible.

Jean Mitry has similar ideas:

Film needed a king of rhythmic beat to enable the audience to measure internally the psychological time for the drama, relating it to the basic sensation of real time.

Consequently, film music can cover up the incoherencies between real time and virtual time. The relative time passed between events on screen can be expressed through the music. How else can a narrative spanning decades logically take place within and hour or two of film. In this sense the cinema experience challenges and recreates our sense of reality.

However, a virtual recreation of time cannot solely explain how cinema can achieve such a reality. Although our everyday experiences are not accompanied by music and whilst many experiences offered to us through film are not common place off screen, music can allow movie events to achieve .an accustomed intelligibility and lucidity; movies, that is, are so much more legible than life..

Noel Carrol continues his train of thought by suggesting that whilst the affect that goes with an observation in everyday life is often unknown, film music constantly alerts us to the feeling that goes with what we see – .the movie-world is emotionally perspicuous through and through..

This concept is well illustrated by the all-time classic thriller Psycho, by Alfred Hitchcock. The one scene which remains strong in the memory of many viewers is the shower stabbing. The use of music in this scene allows the viewer to achieve a comprehension beyond that of real life experience. Close-ups express feelings of fear and terror on the victims face, while at the same time, the aggression and urgency felt by Norman Bates is illustrated by synchronizing the fall of the knife with repetitious shrieking of violins. By combining an audible expression of emotion with a visual one, this scene allows the viewer to experience two emotions simultaneously. This affect is impossible in everyday life.

So, at this point, not only does music function in allowing the virtual replication of time, it can also allow events on screen to achieve clarity beyond that of our everyday experiences. Basically, film music provides the means by which the cinema can explore uncharted territory. However, how does the film communicate new experiences at a personal level. How can emotions the spectator has never experienced be expressed. For cinema to be entirely convincing, it must communicate to the spectator at the subconscious level. This is when film music achieves perhaps its most important function.

Surrealist attitudes towards filmmaking reflected Freud.s theories of the dream and the unconscious. Such philosophies associated the nature of dreaming to the use of superimposition and slow motion in film. To observe film music on a similar level would suggest that subconscious emotive communication could occur. The combination of music with on screen action can create an experience that defies and literary description – it can .set forth the dynamic forms of subjective experience only art can fulfill.. So, through music, the spectator is engaged beyond the visual action into a realm consisting of uncon