Autor/Autorin: Gabriel Gilbert
Dr Gilbert Gabriel studied at Dartington College of Arts, Goldsmiths University and Berklee College (USA). He holds a Masters in Film study from Westminster University and then completed his doctoral thesis on `Film Soundtracks and Subjective States in Cinema´ at Cardiff University under the supervision of Theo Van Leeuwen.
This book examines how soundtracks signify characters´ subjective experiences in narrative fiction cinema. It uses Van Leeuwen´s sound semiotic techniques (`what sound says´) alongside other established film theorists to show how a `language´ has evolved in cinema to signify the difference between reality and these altered states. It explores how sound and music are used to signify characters´ subjective experiences and investigates what makes these uses of sound apt signifiers for these states of mind. Following Van Leeuwen´s (1999), it adapts Halliday´s (1978) conception of `modality´ not only to express different degrees of truth through the medium of language (e.g. modal auxiliaries such as: may, will, must) but also through different modality configurations of sound that express characters´ subjective experiences as they move from reality to an altered state through the adjustment (reduction, increase or neutrality) of aural parameters such as pitch, dynamic, volume, reverberation and so on.
This book examines how soundtracks signify characters' subjective experiences in narrative fiction cinema. It uses Van Leeuwen's sound semiotic techniques ('what sound says') alongside other established film theorists to show how a 'language' has evolved in cinema to signify the difference between reality and these altered states. It explores how sound and music are used to signify characters' subjective experiences and investigates what makes these uses of sound apt signifiers for these states of mind. Following Van Leeuwen's (1999), it adapts Halliday's (1978) conception of 'modality' not only to express different degrees of truth through the medium of language (e.g. modal auxiliaries such as: may, will, must) but also through different modality configurations of sound that express characters' subjective experiences as they move from reality to an altered state through the adjustment (reduction, increase or neutrality) of aural parameters such as pitch, dynamic, volume, reverberation and so on.
Dr Gilbert Gabriel studied at Dartington College of Arts, Goldsmiths University and Berklee College (USA). He holds a Masters in Film study from Westminster University and then completed his doctoral thesis on Film Soundtracks and Subjective States in Cinema at Cardiff University under the supervision of Theo Van Leeuwen.
Über den Autor
Dr Gilbert Gabriel studied at Dartington College of Arts, Goldsmiths University and Berklee College (USA). He holds a Masters in Film study from Westminster University and then completed his doctoral thesis on ¿Film Soundtracks and Subjective States in Cinemä at Cardiff University under the supervision of Theo Van Leeuwen.
Klappentext
This book examines how soundtracks signify characters¿ subjective experiences in narrative fiction cinema. It uses Van Leeuwen¿s sound semiotic techniques (¿what sound says¿) alongside other established film theorists to show how a ¿language¿ has evolved in cinema to signify the difference between reality and these altered states. It explores how sound and music are used to signify characters¿ subjective experiences and investigates what makes these uses of sound apt signifiers for these states of mind. Following Van Leeuwen¿s (1999), it adapts Halliday¿s (1978) conception of ¿modality¿ not only to express different degrees of truth through the medium of language (e.g. modal auxiliaries such as: may, will, must) but also through different modality configurations of sound that express characters¿ subjective experiences as they move from reality to an altered state through the adjustment (reduction, increase or neutrality) of aural parameters such as pitch, dynamic, volume, reverberation and so on.
