Abstract
Conventional discourses accounting for film music’s subordination and the vertical stratification of image, sound and music have been superseded by more integrated and complex scoring approaches. Contemporary Australian films utilising a hybridised or interdisciplinary approach and, influenced by new technologies and media, adopt a more unified method of ‘sounding’ their narratives. Analysing Matthew Saville’s Noise (2007), this article will highlight the operation of sound and music in relation to the film’s principal themes, exposing the complex machinations of the film’s auditory components. It will discuss these complexities with particular reference to the new perspective they provide to the film noir genre.
Original language | English |
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Pages (from-to) | 35-46 |
Journal | Screen Sound Journal |
Issue number | Number 1 |
Publication status | Published - 2010 |