(dis)junctions: romancing heteroglossia (April 9-10, 2004)
Horrific Harmonies: Placing Oneself Within the Audiovisual Nightmare
Historically, film criticism has been dominated by the visual, subjugating the auditory perspective. Only recently has critical work begun to explore the ways in which music influences the ways in which films are perceived. Assuming that the influence of music in film is often overlooked in classical film studies, one could argue that film music has been made to serve the image instead of working in collaboration with the image to create a cohesive effect. However, in horror films music is so apparent and overt in its attempt to manipulate emotion that it subverts classical perspectives of music and its relation to film. How do horror films utilize music to create/manipulate the intended atmosphere? Why is the horror genre, unlike other film genres, comfortable with such overt expression of its audio qualities? How are modern films taking into account auditory perspectives in order to create a deeper sensory experience, and can this in some way be linked to the examples that
horror films have provided?
One page abstracts should be e-mailed to: nicholasanthony01@yahoo.com by March 8, 2004 (text in the body of the message; please no attachments). The submissions should be no longer than 250 words.
For more information on the conference, please visit: http://english.ucr.edu/gsea/disjunctions/
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