The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)
This article focuses on the musical dimension of experimentation in the creative space of science fiction film, concerning its uncanny, new and fantastic places, and otherworldly encounters within fictional, but possible worlds. The aim is to consider the function and potential of the audible – to e...
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| Auteurs principaux: | , |
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| Format: | article |
| Langue: | EN |
| Publié: |
Sciendo
2021
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| Accès en ligne: | https://doaj.org/article/cf4972a0dbe44d0796cbd538bf5023f0 |
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| Résumé: | This article focuses on the musical dimension of experimentation in the creative space of science fiction film, concerning its uncanny, new and fantastic places, and otherworldly encounters within fictional, but possible worlds. The aim is to consider the function and potential of the audible – to examine how sound is used in the filmic exploration of the boundaries between the human and the alien (the unknown). More particularly, we are interested in the role that human voice-like and human vocal sounds can play in this divide, as we believe manipulations with such audible qualities contribute greatly to the emotional dimension of cinematic stories of otherworldly encounters. For that purpose, we concentrate on Denis Villeneuve’s Arrival (2016) and its soundtrack composed by Jóhann Jóhannsson, who resorts to different singing practices and vocal techniques to accompany a story charting the territories between the human and the alien. |
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