Music as image: an analytical-psychology approach to music in film

Doctoral thesis English OPEN
Nagari, Benjamin
  • Subject: UOW9

Sound and music, both independently and inside film are sometimes considered to\ud be secondary to the visual. Some disciplines wish to classify them as triggers to\ud neurological systems while some others will emphasise their affect-inflicting capacity;\ud in both cases these remain as secondary functions and in the case of film as nothing\ud but accompanying elements. Yet, observed psychologically sound and music have a\ud unique and wholesome function in the human psyche. Carl Gustav Jung’s analytical\ud psychology opens the door for the understanding of both as images, far beyond the\ud consensual acceptance of image being of a visual faculty only.\ud Understanding music as image puts music in a different position inside a film as\ud well as a stand-alone phenomenon in the every-day life. Analytical psychology, in\ud both original Jungian and contemporary Post-Jungian versions, using the core ideas of\ud archetype, opposites, functions of the psyche and image - supports the very concept of\ud music/sound as image. This thesis will approach the consequent understanding of the\ud role of music in film beyond the decorative-accompaniment task attributed to it and as\ud an image on its own right.\ud The work is divided into three main parts: Part I will introduce general Jungian\ud aspects to build the case of a Jungian psychological account of the music-image. Part\ud II will attempt to combine theory with practice in analysing how the auditory image\ud (mainly music) works (or sometimes clashes) with the visual (picture) to create the\ud ‘film as a whole’ experience. Part III will implement a specific understanding of three\ud individual film cases of different genres, eras and styles as psychologically scrutinised\ud ‘case histories’.
  • References (9)

    1. Jung, Image, Archetype and Complex ……………….. 14

    2. Jung, Opposites and Psychic Energy ………………… 24 2.2 Volume: Relative, Internal and External …......... 62

    3. Music as Image: Its Realities and Functions ………… 65

    4. Psychological Dimensions of the Film-Music Functions ……………………………………………....... 76 4.1 The Uses of the Overlapping Music Functions …... 79 4.2 Local Conditioning Through Music …………........ 82 4.3 Time, Space and Transition ………………………. 89 4.4 Music as Effect: Encountering 'Real' Sound ……. 94

    5. Film Music: Type, Style, Original and Non-Original Music …………………………………………………… 96 5.1 Time, Jazz, Pop and Independent Songs ………… 100

    6. Film, Music, Archetype ……………………………….. 106 - A JUNGIAN PERSPECTIVE Donato, R. & Scorsese, M. (2007). Docufictions: An interview with Martin Scorsese on documentary film, Film History: An International Journal, Volume 19, No. 2, pp.

    199-207 Donnelly, K. (2001). Film Music: Critical Approaches, New York: Continuum International Publishing Group - Academic Donnelly, K. (2005). The Spectre of Sound: Music in Film and Television, London: British Film Institute Dümling, A. (1998). Eisler's Music for Resnais' 'Night and Fog' (1955): a musical counterpoint to the cinematic portrayal of terror, Historical Journal of Film, Radio and Television, 18:4, 575-584 Feisst, Sabine M. (1999). Arnold Schoenberg and the Cinematic Art, The Musical Quarterly, Vol. 83, No. 1. (Spring, 1999), pp. 93-113.

    Intons, M. J. (1992). Components of Auditory Imagery, in Reisberg, R. (ed.): Nichols, B. (1976). Documentary Theory and Practice; Screen (1976) 17 (4): 34-48.

    Potamkin, H. A. (1929). Music and the Movies, The Musical Quarterly, Vol. 15, No. 2.

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