What a sound! Diegetic and non-diegetic music in the films of Túndé Kèlání (original) (raw)

Thematic Relevance of Music in Nollywood Movies

2020

The production of a rational film entails a proper utilization of both visual and audio elements to realize effective message delivery via ideal communication. The industry of film is an important tool to humans for mirroring, creating change and for the projection of his perfect world. The Nigerian movie industry has enjoyed so much attention both within and outside the shores of the country i.e Africa, Europe Asia and beyond. The growing popularity that has trailed the industry has been bedeviled with heavy criticism. There has been several calls from different works of life on the contents of the works been produced in great quantity with particular reference to thematic relevance of music in films which is seen by many as significantly ignored by movie producers or not properly placed in sequential arrangement of events or scenes in the play. The major concern of this paper is to understand the thematic relevance of music in Nollywood movies. The study was anchored on Apparatus ...

Re-Evaluating Music-Art-Sound of Film through Aestheticism

This submission attempts to show music-art-sound of film through applying aesthetic theory. It aims to look at the film with a view to satisfying the taste and demand of the aesthetic loving audience. By creating music, art and sound in film, its aim is to unveil the theory of aesthetics through which a new inspiration and dimension will be awakened in the minds of author, reader, researcher, reviewer, and audience. To emphasize on music, sound and art in film, this paper applies the critical comments made by famous aesthetic critics, composer, and film-maker. Film making is such an initial step where many aspects of a greater society, community, and a mixed culture are given priority to highlight the index of the age. Thus this submission sheds a new aesthetic image of film so that social, political, cultural, and economic issues of a film are minutely exposed. It presupposes also that the concept of aesthetic film and art can be treated as synonymous by blending the unexamined issue of the relationship between art and aesthetics in the context of film making.

Music as an aid to story telling in Nollywood: Interrogating hybridization in selected films

Creative Artist: A Journal of Theatre and Media Studies, 2019

Film music and sound track are designed to add rhythm, tempo, pace, emotional intensity and mood to unfolding actions and understandably, this has been the norm; however, rather than stick to the conventions established by foreign film industries, some Nollywood film makers have evolved a unique style that incorporates African performative and narrative folkloric forms into their plots. Using the qualitative approach to film reading and analysis, this research work explores and exposes the artistic and cultural link between Nollywood music and soundtrack and oral tradition which has produced a hybridized form. Nollywood film music is thus interrogated as an innovational approach to film making which has cultural appeal for local audiences and those in the Diaspora and which has created an African identity for Nigerian films globally. The discourse is framed around two Nollywood films titled Eye of the King Eye of the King Eye of the King Eye of the King directed by Ugeze J. Ugeze and My Love Story My Love Story My Love Story My Love Story directed by Malachy Ugwoke. In these films, the folkloric content of the music and sound track intermingled with the narrative are presented as precursors of African cultural aesthetics. Hinging the analysis on the concept of Hybridization, the work seeks to prove that the folkloric content of the films constitute a major attraction for both local and international audiences.

The Effect, Importance and Functions of Music in Cinema

Revista Gênero e Interdisciplinaridade

This study focuses on an example of Cahit Berkay who has an important place in the context of film music and the importance, effect and functions of music in the Turkish Cinema. Essentially of the study within the frame of literature review, music, cinema, the relation between music and the field of arts, Turkish Cinema and music, also provides information relates with Cahit Berkay in the context of music in Turkish cinema. The research part of the study, to measure the effects of the soundtracks composed by Cahit Berkay, “Selvi Boylum ve Al Yazmalım” and “Çöpçüler Kralı” movies detected by sample for purpose, versions separated from music with technical method and original music versions interview group (limited to Near East University Vocational School of Health Services Year 2 students) viewed; reactions of students, content analysis technique a from qualitative and quantitative research methods, has been measured within the framework of their responses through written opinion fo...

Perception of Sound: A Study of Selected Nollywood Video Films

The creation of a believable reality in a film story requires appropriate application of both visual and auditory elements to achieve an effective communication. Thus, the film medium is a vital instrument in the hands of man for the transformation of his natural world and the projection of his ideal world to other human beings. Film is one of the fascinating and easiest means of communication in Nigeria, due to its wide range of audience consumption. Hence, the audience invariably accentuates the reality of the filmic experience. The concept of audience in film studies highlights a collective of people who are responsive to film viewership. The audience is necessary for filmmakers’ profit, and as such filmmakers construct their film very specifically in the hope of pulling substantial audience turnouts, which readily predisposes the filmmakers’ product to be predominantly audience-driven. Through the films produced, the audience is educated and entertained. This is therefore an obvious indication that film is a medium of mass communication that is very powerful when effectively packaged and employed. The artistic communication in film is enhanced by visual and auditory elements. Thus, film uses visual and auditory elements to create narrative messages. Sound may not be noticeable when watching a film story, but sound and music constitute powerful film technique(s) which, when appropriately applied, enhance effective communication. As a result, when watching a film, the viewers react with the variations in sound that are in tune with the action of a film story. However, despite the inseparable complementary role between the visual and auditory elements of film production, sound seems to remain a silent or a secondary issue in film production and analysis discourse. The study is therefore motivated by this apparent lack of attention, to highlight the invaluable significance of sound, while critically examining the indices that condition its perception in Nigerian Nollywood landscape.

The «Musicalised Image»: A Joint Aesthetic of Music and Image in Film

Aisthesis. Pratiche, linguaggi e saperi dell’estetico, 2019

Despite traditionally having been studied within the field of Musicology, the analysis of music in film should be approached as an aesthetic study of the relationship between «image» and «music» which is central to the cinematographic framework. From this interdisciplinary perspective numerous theoretical and methodologi-cal issues emerge. The aim of this article is to investigate, using both a synchronic and diachronic focus, some of the key issues arising from this joint music-image approach, in an attempt to develop a theoretical framework for a joint aesthetic of music and image: a study of «cinematographic expression» that brings together the visual and the sound dimensions and which we call the «musicalised image», a neologism of our own creation.

A Cross Examination of African Aesthetics: Nigerian Popular Music as Case Study

2019

<br> This study examines aesthetics in the African context. Nigerian popular music is used as a template to pilot the study. Effort is made to investigate Nigerian popular music by grouping it into two eras based on genres and time-popular music in the colonial era to the early post-colonial era (1940s–1980s) and the contemporary Nigerian popular music (late 1980s–till date). Elements that define African music as good and pleasant to the senses are established vis-a-vis the disparity between a good music and music that is pleasant both in content and context. The research employs content analysis and literary methodologies. This study reveals that what is considered as beautiful is relative across cultures. The paper concludes that both the tangible and intangible aspects of an object must be carefully considered in defining African aesthetics.<br> Résumé <br> Cet article examine l'esthétique dans le contexte africain. La musique populaire nigériane est le modè...

AESTHETIC EXPERIENCE IN NIGERIAN ART MUSIC: ANALYSIS OF SELECTED COMPOSITIONS OF ATINUKẸ ỌLAYADE

2019

Aesthetics has to do with using our senses to appreciate the beauty embedded in an artwork. Musical works enjoy aesthetic experience majorly through a semiotic approach which presents music as a concrete and visible form of art. However, music is rather a non-concrete art that requires some visible tools for its concreteness. Tangible materials only help to heighten the music, music itself is in the sound or springs up from sound, to say the least. This study seeks to investigate the uses of other senses such as the sense of hearing, for engaging in the aesthetic process of musical works, thereby exploring musical aesthetics in the natural perception of its intangibility. Hence, observation and analytical methods were used in this study. Georg Hegel has explored the magnitude of art in an ordered estimation of diminishing dependence on the material. This is arranged from architecture, sculpture, painting, music, and poetry where architecture has visible materials, music, and poetry are not. Aesthetic experience in two instrumental compositions of Ọlayade was examined in the light of pragmatic, sociological, and transformational perspectives. It was observed that the aesthetic experience in Nigerian art music should not be conceived in the light of its visual features as though it is visual art or architecture, it could also be done by hearing. Therefore, aesthetic perception of Nigerian art music should not be limited to visual perception but also audio and tactile ones.

Interaction between Music and Image in Film – Presumptions and Typology

In this article I shall make an attempt to present a systematic model of the relationship between music and image in film. The interaction between music and image can be approached in various aspects. The functional aspect is one of the principle ones, when speaking about that. Glancing at this issue can distinguish several different types of this interaction. First of all the exploitation of music in film can be determined by merely practical and pragmatic functions as well as by commercial and ideological reasons (a pragmatic interaction). Seconds -formal compositional tasks, linking/separating, etc. structural functions (a structural interaction). Third -the reasons of rendering semantic functions, non musical (literary, narrative and like) senses (semantic interaction). Each of these interactions is realized by certain phenomenologically singled out situations of music and image contact: diegetic/non-diegetic (the source aspect), synchronicity-parallelism/asynchronicitycounterpoint (a community aspect), foregrounding/backgrounding (predominant aspect). The whole complex of phenomenological and functional aspects compose a hexagonal sound and image model embracing cardinal analytical points of cinema music.

Film Culture and the Psychology of Sound. A Case Study

2021

Nowadays, although the cinema is seen as a way of entertaining the masses, of keeping people abreast of what is going on outside their homes, we sometimes fail to notice that, like any mass media, it 'injects' certain values, ideas, even feelings and reactions. Speculating on the conscious and unconscious state of the millions towards which they are directed, the cinematic representations are social constructions rather than value-neutral reflections of the 'real' world. Although seen as being essentially visual, because it mimics our mental constructions of life, and the way our consciousness shapes the world, the film 'touches' deeper aspects of our inner world, such as emotion, attention, and imagination. The aim of this study is to put forward the idea that music plays a central role in film contexts. Being an all-encompassing and organic tool, music has the power to convey meaning and emotions, at times even more efficiently than images. An analysis of t...