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  3. Crossroads. A Journal of English Studies
  4. Crossroads. A Journal of English Studies, 2019, Issue 26

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    • Proszę używać tego identyfikatora do cytowań lub wstaw link do tej pozycji: http://hdl.handle.net/11320/8798
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    Pole DCWartośćJęzyk
    dc.contributor.authorKniaź, Lidia-
    dc.date.accessioned2020-02-05T10:28:00Z-
    dc.date.available2020-02-05T10:28:00Z-
    dc.date.issued2019-
    dc.identifier.citationCrossroads. A Journal of English Studies 26 (3/2019), pp. 33-46pl
    dc.identifier.urihttp://hdl.handle.net/11320/8798-
    dc.description.abstractThe article provides an attempt to analyze selected characteristics of contemporary cinematic sound on the basis of the sound design in Sicario (2015, dir. Denis Villeneuve), which encompasses a digitally-processed orchestral score with originally texturized sound effects. I elaborate on the features of the sound design in Sicario in regard to production and composition. Moreover, I attempt to demonstrate the ways in which sound in Sicario, due to its characteristics, is outside any typical musical genre. Finally, the article focuses on sound effects which are used in an unusual way, for instance, so as to reflect characters’ personalities. The analysis of Sicario demonstrates that a creatively and meticulously constructed sound design in film has the power to exceed its traditional, supporting role in the narrative.pl
    dc.language.isoenpl
    dc.publisherThe University of Bialystokpl
    dc.rightsUznanie autorstwa-Użycie niekomercyjne-Na tych samych warunkach 4.0*
    dc.rights.urihttps://creativecommons.org/licenses/by-nc-sa/4.0/*
    dc.subjectfilm scorepl
    dc.subjectAmerican cinemapl
    dc.subjectsound designpl
    dc.subjectsoundtrackpl
    dc.subjectSicariopl
    dc.subjectDenis Villenuevepl
    dc.titleSound design as narrative device in contemporary film: Subliminal soundscape of war and terror in Sicario (2015)pl
    dc.typeArticlepl
    dc.identifier.doi10.15290/cr.2019.26.3.03-
    dc.description.Emaillidiakniaz@gmail.compl
    dc.description.BiographicalnoteLidia Kniaź is a PhD candidate at Maria Curie-Skłodowska University in Lublin, Poland, and a 2016 winner of the 2nd Prize in Poland’s contest for the Best MA Thesis in American Studies. Her research interests include science fiction music videos, Afrofuturism, and sound design in film. She is currently working on her dissertation on Afrofuturist music videos.pl
    dc.description.AffiliationMaria Curie-Skłodowska University in Lublinpl
    dc.description.referencesAltman, R. 1992. Sound Theory, Sound Practice. New York: Routledge.pl
    dc.description.referencesA Pulse from the Desert: The Score of Sicario. 2016. Short, Action.pl
    dc.description.referencesArmbrust, D. 2015. “Jóhann Jóhannsson’s Relentless, Ritualistic ‘Sicario’ Soundtrack.” WQXR (14 December 2015). http: / / www.wqxr.org / story / johann-johannssons-relentless-ritualistic-sicario-soundtrack/?utm_source=sharedUrl&utm_medium=metatag&utm_campaign=sharedUrlpl
    dc.description.referencesBlyth, A. 2016. Alan Robert Murray on ‘Sully,’ and creating Benicio Del Toro’s gunshot sound for ‘Sicario.’ https: / / www.yahoo.com / tv / alan-robert-murray-sully-creating-184853799.html (Accessed: 16 February 2016).pl
    dc.description.referencesBordwell, D. 2002. Intensified continuity visual style in contemporary American film. Film Quarterly 55 (3): 16–28. https: / / doi.org / 10.1525 / fq.2002.55.3.16 (Accessed: 19 May 2016).pl
    dc.description.referencesBradshaw, P. 2015a. Sicario review: Emily Blunt cracks the cartel in a white-knuckle thriller. The Guardian. http://www.theguardian.com/film/2015/may/19/sicario-review-emily-blunt-thriller (Accessed: 19 May 2016).pl
    dc.description.referencesBradshaw, P. 2015b. Sicario review – Emily Blunt at the sharp end in war on drugs. The Guardian. October 8, 2015. http: / / www.theguardian.com/film/2015/oct/08/sicario-review-emily-blunt-at-the-sharp-end-in-war-on-drugs (Accessed: 18 May 2016).pl
    dc.description.referencesBuhler, J., Flinn, C. & Neumeyer, D. (eds). 2000. Music and Cinema. 1st edition. Hanover, NH: Wesleyan.pl
    dc.description.referencesChagollan, S. 2015. ‘Sicario’s’ ominous score aims to match film’s brutality. Variety (blog). September 16, 2015. http://variety.com/2015/artisans/production/sicario-score-johann-johannsson-1201594496/ (Accessed: 17 May 2016).pl
    dc.description.referencesChion, M. 1994. Audio-Vision: Sound on Screen. 14th edition. New York: Columbia University Press.pl
    dc.description.referencesDancynger, K. 2018. The Technique of Film and Video Editing: History, Theory, and Practice. 6th edition. New York: Routledge.pl
    dc.description.referencesDesowitz, B. 2016. How they made the percussive sound and score for Oscar nominee ‘Sicario.’ Thompson on Hollywood. February 17, 2016. http://blogs.indiewire.com/thompsononhollywood/how-they-made-the-percussive-sound-and-score-for-oscar-nominee-sicario-20160217 (Accessed: 20 May 2016).pl
    dc.description.referencesGiardina, C. 2015a. How Roger Deakins mastered shooting in the dark for ‘Sicario.’ The Hollywood Reporter. November 26, 2015. http://www.hollywoodreporter.com/behind-screen/howroger-deakins-mastered-shooting-842555 (Accessed: 19 May 2016).pl
    dc.description.referencesGiardina, C. 2015b. ‘Sicario’ editor Joe Walker outlines how he cut the cartel thriller. The Hollywood Reporter. December 10, 2015. http://www.hollywoodreporter.com/behind-screen/sicario-editor-joe-walker-outlines-847890. (Accessed: 5 June 2016).pl
    dc.description.referencesGorbman, C. 1987. Unheard Melodies: Narrative Film Music. London: BFI Pub., Bloomington: Indiana Univ Pr.pl
    dc.description.referencesGrobar, M. 2015. ‘Sicario’ composer Johann Johannsson on creating propulsive sound of drug war drama – AwardsLine. Deadline (blog). December 24, 2015. http://deadline.com/2015/12/johann-johannsson-sicario-composer-oscars-best-score-1201664692/ (Accessed: 25 May 2017).pl
    dc.description.referencesJames, D. 2016. Contender – sound editor Alan Robert Murray, Sicario. Below the Line (blog). February 2, 2016. http://www.btlnews.com/awards/contender-portfolios/contender-sound-editor-alan-robert-murray-sicario/ (Accessed: 6 May 2016).pl
    dc.description.referencesKermode, M. 2015. Sicario Review – Emily Blunt’s Star Quality Lifts Mexican Drugs Thriller. The Guardian. October 11, 2015. http://www.theguardian.com/film/2015/oct/11/sicario-review-emily-blunt-star-quality-lifts-thriller.pl
    dc.description.referencesMcQueen, A. 2013. ‘Bring the Noise!’: Sonic intensified continuity in the films of Edgar Wright. Project MUSE 7 (2): 141–65.pl
    dc.description.referencesMerry, S. 2015. Stressful music, carnage and Oscar Buzz: Why ‘Sicario’ is the new ‘Jaws.’ The Washington Post, October 5, 2015. https://www.washingtonpost.com/news/arts-and-entertainment/wp/2015/10/05/stressful-music-carnage-and-oscar-buzz-why-sicariois-the-new-jaws / (Accessed: 2 July 2016).pl
    dc.description.referencesOlsen, M. 2015. Tension Crackles across the many borders of ‘Sicario.’ Los Angeles Times. September 17, 2015. https://www.latimes.com/entertainment/movies/la-et-0918-sicario-review-20150918-story.html. (Accessed: 23 July 2016).pl
    dc.description.referencesRoberts, S. 2015. Composer Johann Johannsson talks Sicario, Denis Villeneuve. Collider (blog). September 29, 2015. http://collider.com/composer-johann-johannsson-sicario-interview/ (Accessed: 29 May 2016).pl
    dc.description.referencesRotella, S. 2015. Sicario’s dirty war on Mexican cartels is not yet reality. ProPublica. October 23, 2015. https://www.propublica.org/article/sicarios-dirty-war-on-mexican-cartels-is-not-yet-reality (Accessed: 2 June 2016).pl
    dc.description.referencesShaviro, S. 2016. 3.4 Splitting the atom: Post-cinematic articulations of sound and vision. POST-CINEMA (blog). April 11, 2016. http://reframe.sussex.ac.uk/post-cinema/3-4-shaviro/ (Accessed: 12 July 2016)pl
    dc.description.referencesTallerico, B. 2015. Sicario movie review & film summary (2015) | Roger Ebert. http://www.rogerebert.com/reviews/sicario-2015. (Accessed: 3 June 2016)pl
    dc.description.referencesZager, M. 2015. Writing Music for Commercials: Television, Radio, and New Media. 3 edition. Lanham, Maryland: Rowman & Littlefield Publishers.pl
    dc.identifier.eissn2300-6250-
    dc.description.issue26 (3/2019)-
    dc.description.firstpage33pl
    dc.description.lastpage46pl
    dc.identifier.citation2Crossroads. A Journal of English Studiespl
    dc.identifier.orcid0000-0002-6804-4750-
    Występuje w kolekcji(ach):Crossroads. A Journal of English Studies, 2019, Issue 26

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