Randy Thom in conversation Articles by Randy Thom
DESIGNING A MOVIE FOR SOUND
Referenced films: Apocalypse Now, Once Upon A Time in the West, Forrest Gump, Eraserhead, The Black Stallion, Contact, Wild at Heart.
Musy in conversation
Shea in conversation
THE MICRORHYTHMIC PNEMACOSM OF HYPE WILLIAMS
Referenced videos: by Hyper Williams &emdash; Missy Elliot, Busta Rhymes, Busta Rhymes with Janet Jackson, Ginuine &emdash; and by Michel Gondry &emdash; Daft Punk.
MY AISLES OF GOLDEN DREAMS:
The Beauty of Supermarket Soundtracks
Grand Hotel, Bedazzled, Rome Adventure, Love in the Afternoon, The Apartment,
The Stepford Wives, There's Something About Mary.
SCORING THE OTHER:
Musical Coding of Indians in the Western
Referenced films: Stagecoach, Broken Arrow, A Man Called Horse, Dances With Wolves.
Hail Mary, The Magic Flute, Ran, Flying Down To Rio, 2001 - A Space Odessy,
Run Lola Run, Lucky People Centre International.
INTENSITY, UNCERTAINTY & DISSIMULATION:
Fritz Lang's Sound
House By The River, Scarlet Street.
Citizen Kane, The Lady From Shanghai, Othello, F For Faker.
Introduction to the book
The feverish inquiry into film sound and music continues. It induces delirium, hysteria, exhaustion: too many films; so many histories; a daunting yet exciting expanse of ground to be covered. The fact remains that trends, directions, formations and even epochs are occurring in the cinema with unnerving momentum, yet possibly never before has there been such a lack of concurrency in the writing of film. Ultimately, these are exciting times whose critical silence may give rise to a new critical voice for that stuffed animal in the glass cabinet, Film Theory.
What better way to listen for new voices than to cast one's ear toward the ceaseless and beautiful din of music which surrounds us? This collection of articles explores the phonographic fringes of musical vibrations on the film soundtrack and its diaspora beyond the theatre. Supermarket muzak, 'Indian' tom-toms, hypertensive R'n'B, radicalized folk, noir jazz, grand symphonies, Lang's acoustics and Welles' vocals &emdash; each are examined and revealed in a cinematic light. 'Music' is possibly too rich and potent a term to employ when discussing the film score and its capacity to bleed beyond itself, for music on the film soundtrack becomes something else &emdash; part phonological apparition, part acoustical sensation, part harmonic . "The sound of music" is a suitably erotic phrase which suggests the way music can be more than its language and content, and the 'aura' of music created by its presence of the film soundtrack is to be credited for the complexity we term 'sound-image fusion'.
I hope the fibrous minutiae that kine the deep recesses of your ear canals are excited by the chorus of critical voices which speak and sing throughout these articles.
Philip Brophy 2000
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