Titlebook: Identifying and Interpreting Incongruent Film Music; David Ireland Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 audio-vi

ostrish

Identifying (In)congruencenced by broader historic, cultural, and institutional context. Following discussion of expectations and genre—constructs that facilitate exploration of judgements of what constitutes (in)appropriate film music—this chapter overviews the evolution of attitudes towards musical (mis)fit, (in)appropriat

陶醉

蚊子

Intradomain Incongruence in the Opening Battle Sequence from en cues. Such localised contrasts are considered in the context of different types of surprise and explored by study of the transition from energetic to tranquil music in Hans Zimmer’s score for the opening battle sequence in .. The relationship with the music of earlier epics and the centrality of

猛然一拉

Mozart, Harmonicas, and Aesthetic Incongruence in rative. Influenced by individual and societally shaped attitudes, such judgements echo those frequently made about the (in)appropriateness of music in various everyday contexts. A sequence from . in which an operatic aria is played over the prison intercom is used to further explore these issues. In

開始從未

champaign

Duran Duran and Semantic Incongruence in this trope. However, the semantic incongruities in such pairings may still influence perception and response despite other congruities and conformity to genre conventions. This chapter considers how the use of Duran Duran’s ‘Ordinary World’ alongside the depiction of a brutal beating in . might inf

Gentry

Conclusionsare summarised. The analytical potential of this approach is evaluated, as are the opportunities it presents for methodological reflection, as demonstrated by brief critique of the method of data collection and analysis presented in the preceding case study chapters. The book’s recurrent themes are

Antarctic

使更活躍

完成