THE PALGRAVE HANDBOOK OF SOUND DESIGN AND MUSIC IN SCREEN MEDIA INTEGRATED SOUNDTRACKS Edited by Liz Greene and Danijela Kulezic-Wilson The Palgrave Handbook of Sound Design and Music in Screen Media Liz Greene • Danijela Kulezic-Wilson Editors The Palgrave Handbook of Sound Design and Music in Screen Media Integrated Soundtracks Editors Liz Greene Danijela Kulezic-Wilson Liverpool John Moores University University College Cork UK Ireland ISBN 978-1-137-51679-4 ISBN 978-1-137-51680-0 (eBook) DOI 10.1057/978-1-137-51680-0 Library of Congress Control Number: 2016959564 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover image: © Olga Kuzmenko Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. London The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom ACKNOWLEDGEMENTS The editors would like to thank Kevin Donnelly, the series editor, for ­suggesting this project and Palgrave editors Chris Penfold, Harry Fanshawe and Lina Aboujieb for nurturing it from proposal to publication. We are grateful to our respective institutions, Dublin City University and University College Cork, for supporting this anthology throughout the process. We would also like to thank the Centre for Media Research at University of Ulster (Coleraine) for their initial support during our doctoral studies. Liz Greene would like to thank her colleagues in the School of Communications, at Dublin City University and is grateful for financial sup- port received through the Faculty of Humanities and Social Sciences Book Publication Scheme. On a personal note, thanks, above all, goes to Niamh, Dario and Marmaduke. Danijela Kulezic-Wilson would like to thank University College Cork for assisting the realization of this project with sabbatical leave, the CACSSS Research Support Fund, the CACSSS Research Publication Fund and the Departmental Research Fund. She would also like to thank her colleagues from the Department of Music for their help and advice. The biggest thank you goes to her husband Ian for his unwavering support. Most of all we would like to thank our contributors for their commitment and patience during the protracted process of putting this anthology together. This book received financial support from the Faculty of Humanities and Social Sciences Book Publication Scheme at Dublin City University. It also received financial support from the College of Arts, Celtic Studies and Social Science Research Publication Fund, University College Cork. v CONTENTS 1 Introduction 1 Liz Greene and Danijela Kulezic-Wilson Part I Boundaries and Their Disintegration 15 2 From Noise: Blurring the Boundaries of the Soundtrack 17 Liz Greene 3 Interview 1: Sound Recording, Sound Design and Collaboration—An Interview with Ann Kroeber 33 Liz Greene 4 Organizing Sound: Labour Organizations and Power Struggles that Helped Define Music and Sound in Hollywood 43 Gianluca Sergi 5 Mixing as a Hyperorchestration Tool 57 Sergi Casanelles 6 Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films 73 K.J. Donnelly vii viii Contents Part II Presence, Immersion, Space 89 7 Towards 3-D Sound: Spatial Presence and the Space Vacuum 91 Miguel Mera 8 Inner and Outer Worlds in the Film Gravity: A Multidisciplinary Approach 113 Gilbert Gabriel and David Sonnenschein 9 Intertwining Music and Sound in Film 123 Martine Huvenne 10 Interview 2: Reality and Representation—An Interview with Dario Marianelli 139 Miguel Mera Part III Listening: Affect and Body 151 11 Sound Effects/Sound Affects: ‘Meaningful’ Noise in the Cinema 153 James Wierzbicki 12 Listening to Violence: Point-of-Audition Sound, Aural Interpellation, and the Rupture of Hearing 169 Tony Grajeda 13 Acoustic Disgust: Sound, Affect, and Cinematic Violence 183 Lisa Coulthard Part IV Time and Memory 195 14 Mad Sound and the Crystal-Image: The Soundtrack of Rivette’s L’Amour fou 197 Byron Almén and James Buhler 15 The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound 213 Robynn J. Stilwell Contents ix 16 Sound, Music and Memory in Jia Zhangke’s ‘Hometown Trilogy’ 229 Philippa Lovatt 17 Vinyl Noise and Narrative in CD-Era Indiewood 245 Ian Garwood 18 Interview 3: Mixing Punk Rock, Classical, and New Sounds in Film Music—An Interview with Brian Reitzell 261 Meghan Joyce Tozer Part V Breaking Conventions 271 19 From Analogue to Digital: Synthesizers and Discourses of Film Sound in the 1980s 273 Katherine Spring 20 Unlearning Film School: The ‘lo-fi’ Soundtracks of Joe Swanberg 289 Nessa Johnston 21 The Janus Project: Cristobal Tapia de Veer’s Utopia, Anempathetic Empathy and the Radicalization of Convention 305 Annette Davison and Nicholas Reyland 22 Interview 4: Building Bridges: Sound Design as Collaboration, as Style and as Music in The Bridge—An Interview with Carl Edström 321 Annette Davison and Martin Parker Part VI The Sound of Machines and Non-Humans 329 23 The Sound of an Android’s Soul: Music, MIDI and Muzak in Time Of Eve 331 Philip Brophy x Contents 24 The Sounds in the Machine: Hirokazu Tanaka’s Cybernetic Soundscape for Metroid 347 William Gibbons 25 Redundancy and Information in Explanatory Voice-Ins and Voice-Offs 361 Cormac Deane 26 Interview 5: Under the Skin of Film Sound—An Interview with Johnnie Burn 377 John Hough Part VII The Musicality of Soundtrack 385 27 Electroacoustic Composition and the British Documentary Tradition 387 Andy Birtwistle 28 Renegotiating the Overture: The Use of Sound and Music in the Opening Sequences of A Single Man and Shame 403 Adam Melvin 29 Interview 6: Orchestration, Collaboration, and the Integrated Soundtrack—An Interview with Matt Dunkley 421 Ian Sapiro 30 Musically Conceived Sound Design, Musicalization of Speech and the Breakdown of Film Soundtrack Hierarchy 429 Danijela Kulezic-Wilson Filmography 445 Index 453 NOTES ON CONTRIBUTORS Byron Almén is Associate Professor of Music Theory at the University of Texas at Austin. He is the author of A Theory of Musical Narrative and co-­ editor, with Edward Pearsall, of Approaches to Meaning in Music, both pub- lished by Indiana University Press. He is the co-author, with Stefan Kostka and Dorothy Payne, of the textbook Tonal Harmony. Andy Birtwistle is Reader in Film and Sound at Canterbury Christ Church University, and is the author of Cinesonica: Sounding Film and Video (2010). In addition to research on film sound, he has published articles on artists’ film and video, modernism and music, and Taiwan cinema. Andy is also a sound artist and filmmaker, and is currently the Director of the Centre for Practice Based Research in the Arts at Canterbury Christ Church University. Philip Brophy writes on film, sound and music among other things. www. philipbrophy.com James Buhler teaches at the University of Texas at Austin and has authored more than 20 articles on music, sound and film. He is co-author ofHearing the Movies, now in its second edition. Sergi Casanelles is a composer for concert and film music. He has completed a PhD in Film Music Composition at NYU. His research is focused on studying the Hyperorchestra or how new technologies interact with music in film and how this interaction affects its aesthetics. He works as an Adjunct Professor at NYU Steinhardt, teaching Film Music Composition, History and Contemporary Technological approaches. Lisa Coulthard is Associate Professor of Film Studies in the Department of Theatre and Film at the University of British Columbia. She has published widely on contemporary European and American cinemas, film violence and film sound. She holds a SSHRC Insight Grant for a study of cinematic sound and violence in the digital age and is currently completing a book on sound in the films of Quentin Tarantino. xi xii Notes on Contributors Annette Davison is Senior Lecturer in Music at the Reid School of Music, University of Edinburgh. Recent publications explore music for television and short form promotional media. Her essays on the main title and end credit sequences for recent television drama serials can be found in The Oxford Handbook of New Audiovisual Media (2013), the journal Music, Sound and the Moving Image (2014) and on viewer behaviour in relation to these sequences in the Danish journal SoundEffects (2013). Cormac Deane is Lecturer in Film and Media at the Institute of Art, Design and Technology, Dublin. His translation of Christian Metz’s final work, Impersonal Enunciation, was published in February 2016. He is currently pre- paring a book-length media archaeology of the control room.