Sound and Polysemy in Film
This article theorizes how the power of sound creates alternative meanings meant to con- firm, incorporate and even challenge dominant film narratives/paradigms. In Zimbabwe, most critical works on popular culture tend to gravitate towards musical lyrics without pay- ing special homage to film s...
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| Format: | Article |
| Language: | English |
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Taylor & Francis (Routledge)
2016
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| _version_ | 1779905262489960448 |
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| author | Rwafa, Urther |
| author_facet | Rwafa, Urther |
| author_sort | Rwafa, Urther |
| collection | DSpace |
| description | This article theorizes how the power of sound creates alternative meanings meant to con-
firm, incorporate and even challenge dominant film narratives/paradigms. In Zimbabwe,
most critical works on popular culture tend to gravitate towards musical lyrics without pay-
ing special homage to film sound. This scenario, in a way, has created a mystery about the
language conventions used by film sound in order to construct socio-cultural realities. The
contention of this article therefore, is that film sound is a language, a signifier of meaning,
which if exploited fully by filmmakers, has potential to construct heterogeneity in film or
multiple perspectives. A theoretical thrust to this article is meant to provoke readers to come
up with innovative ways of understanding how sound has unique ways of producing and
re-producing internal instabilities/ turbulences that interrogates power by exploring human
feeling and human perceptions towards social change. |
| format | Article |
| id | ir-11408-892 |
| institution | My University |
| language | English |
| publishDate | 2016 |
| publisher | Taylor & Francis (Routledge) |
| record_format | dspace |
| spelling | ir-11408-8922022-06-27T13:49:07Z Sound and Polysemy in Film Rwafa, Urther Power Sound Film Polysemy This article theorizes how the power of sound creates alternative meanings meant to con- firm, incorporate and even challenge dominant film narratives/paradigms. In Zimbabwe, most critical works on popular culture tend to gravitate towards musical lyrics without pay- ing special homage to film sound. This scenario, in a way, has created a mystery about the language conventions used by film sound in order to construct socio-cultural realities. The contention of this article therefore, is that film sound is a language, a signifier of meaning, which if exploited fully by filmmakers, has potential to construct heterogeneity in film or multiple perspectives. A theoretical thrust to this article is meant to provoke readers to come up with innovative ways of understanding how sound has unique ways of producing and re-producing internal instabilities/ turbulences that interrogates power by exploring human feeling and human perceptions towards social change. 2016-04-19T14:16:43Z 2016-04-19T14:16:43Z 2008 Article 1812-5980 www.tandfonline.com/doi/pdf/10.1080/18125980802671441 en Muziki Journal of Music Research in Africa;Vol 5, No. 1 none Taylor & Francis (Routledge) |
| spellingShingle | Power Sound Film Polysemy Rwafa, Urther Sound and Polysemy in Film |
| title | Sound and Polysemy in Film |
| title_full | Sound and Polysemy in Film |
| title_fullStr | Sound and Polysemy in Film |
| title_full_unstemmed | Sound and Polysemy in Film |
| title_short | Sound and Polysemy in Film |
| title_sort | sound and polysemy in film |
| topic | Power Sound Film Polysemy |
| work_keys_str_mv | AT rwafaurther soundandpolysemyinfilm |