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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Autores principales:	Medina Nicolás, Kiss Miklós
Formato:	article
Lenguaje:	EN
Publicado:	Sciendo 2021
Materias:	voice soundtrack human/alien divide arrival jóhann jóhannsson Visual arts N1-9211
Acceso en línea:	https://doaj.org/article/cf4972a0dbe44d0796cbd538bf5023f0
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id	oai:doaj.org-article:cf4972a0dbe44d0796cbd538bf5023f0
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spelling	oai:doaj.org-article:cf4972a0dbe44d0796cbd538bf5023f02021-12-05T14:11:06ZThe Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)2066-777910.2478/ausfm-2021-0011https://doaj.org/article/cf4972a0dbe44d0796cbd538bf5023f02021-11-01T00:00:00Zhttps://doi.org/10.2478/ausfm-2021-0011https://doaj.org/toc/2066-7779This 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.Medina NicolásKiss MiklósSciendoarticlevoicesoundtrackhuman/alien dividearrivaljóhann jóhannssonVisual artsN1-9211ENActa Universitatis Sapientiae: Film and Media Studies, Vol 20, Iss 1, Pp 1-19 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	voice soundtrack human/alien divide arrival jóhann jóhannsson Visual arts N1-9211
spellingShingle	voice soundtrack human/alien divide arrival jóhann jóhannsson Visual arts N1-9211 Medina Nicolás Kiss Miklós The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)
description	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.
format	article
author	Medina Nicolás Kiss Miklós
author_facet	Medina Nicolás Kiss Miklós
author_sort	Medina Nicolás
title	The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)
title_short	The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)
title_full	The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)
title_fullStr	The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)
title_full_unstemmed	The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)
title_sort	role of experimenting with the human voice in film music in the representation of the human/alien divide: the case of arrival (2016)
publisher	Sciendo
publishDate	2021
url	https://doaj.org/article/cf4972a0dbe44d0796cbd538bf5023f0
work_keys_str_mv	AT medinanicolas theroleofexperimentingwiththehumanvoiceinfilmmusicintherepresentationofthehumanaliendividethecaseofarrival2016 AT kissmiklos theroleofexperimentingwiththehumanvoiceinfilmmusicintherepresentationofthehumanaliendividethecaseofarrival2016 AT medinanicolas roleofexperimentingwiththehumanvoiceinfilmmusicintherepresentationofthehumanaliendividethecaseofarrival2016 AT kissmiklos roleofexperimentingwiththehumanvoiceinfilmmusicintherepresentationofthehumanaliendividethecaseofarrival2016
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The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)

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