Psychoanalysis, Apparatus Theory, and Subjectivity

2013 ◽  
pp. 382-417 ◽  
Author(s):  
James Buhler
Keyword(s):  
Film Music ◽  
Clinical Treatment

This chapterexamines the relevance of psychoanalysis, subjectivity, and apparatus theory to film music studies. It explains that psychoanalysis provides the theory of subjectivity of the formation of social subjects, while critical use of psychoanalysis is unconcerned with clinical treatment and is interested in turning psychoanalysis back on itself in order to examine how it formulates the norm. It considers the relevant works of philosopher and cultural critic SlavojŽižek and Jean-Louis Baudry, who developed the idea ofcinematic apparatus.

Clinical Treatment of the Elderly: Never Too Late

1987 ◽  
Vol 32 (12) ◽  
pp. 1036-1036
Author(s):  
Susan Krauss Whitbourne
Keyword(s):  
The Elderly ◽  
Clinical Treatment

Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music

2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey
Keyword(s):  
Film Music ◽  
The World ◽  
British Cinema ◽  
Film Making ◽  
The Way

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.

Preliminary Report on Film Music

1947 ◽  
Vol 2 (3) ◽  
pp. 299-302
Author(s):  
Frederick W. Sternfeld
Keyword(s):  
Preliminary Report ◽  
Film Music
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