Totality of experience: sound, music and mythology in Gus Van Sant’s “Death Quartet”

Show simple item record

dc.contributor.advisor Kulezic-Wilson, Danijela en
dc.contributor.advisor Morris, Christopher en
dc.contributor.author Shine, Jessica
dc.date.accessioned 2015-11-27T11:37:05Z
dc.date.available 2015-11-27T11:37:05Z
dc.date.issued 2015
dc.date.submitted 2015
dc.identifier.citation Shine, J. 2015. Totality of experience: sound, music and mythology in Gus Van Sant’s “Death Quartet”. PhD Thesis, University College Cork. en
dc.identifier.endpage 291
dc.identifier.uri http://hdl.handle.net/10468/2112
dc.description.abstract Reflecting on Gus Van Sant’s films Gerry (2003) Elephant (2004) and Last Days (2005), the director’s long-term sound-designer Leslie Shatz observed that “You have to get into the totality of the experience and not just the dialogue”. Shatz’s comment expresses something fundamental about the experimental approach to cinema and to soundscapes undertaken by Van Sant in these three films, unofficially known as the “Death Trilogy”. This thesis contends that Van Sant makes deliberate aesthetic choices which do indicate a distinctly “auteurist” leaning. However, I also argue that intertextual elements, prior knowledge, and audience participation in meaningmaking enhance the experience of, and reveal the nuances in, the soundtracks themselves. This thesis aims to contribute to a growing body of work within filmmusic scholarship concerned with resisting a traditional bias in the field: that film music should be understood as a means of characterisation and as emotional signifier. The films of the “Death Quartet”, which includes Paranoid Park (2007), I believe, offer fertile ground on which to explore these new approaches. It is my contention that these films deconstruct the traditional approach to soundtracking and the relationship between soundtrack and character, and that only an approach sensitive to the aesthetic and philosophical functions of music and sound can adequately acknowledge their unique cinematic qualities. en
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.publisher University College Cork en
dc.rights © 2015, Jessica Shine. en
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/ en
dc.subject Film music en
dc.subject Gus Van Sant en
dc.subject Film en
dc.subject Music en
dc.title Totality of experience: sound, music and mythology in Gus Van Sant’s “Death Quartet” en
dc.type Doctoral thesis en
dc.type.qualificationlevel Doctoral Degree (Structured) en
dc.type.qualificationname PhD (Arts) en
dc.internal.availability Full text not available en
dc.check.info The full text of this thesis is unavailable due to a restriction requested by the author. en
dc.check.date 9999-01-01
dc.description.version Accepted Version
dc.description.status Not peer reviewed en
dc.internal.school Music en
dc.check.type No Embargo Required
dc.check.reason No embargo required en
dc.check.opt-out Not applicable en
dc.thesis.opt-out false
dc.check.embargoformat Not applicable en
dc.check.embargoformat E-thesis on CORA only en
ucc.workflow.supervisor d.kulezicwilson@ucc.ie
dc.internal.conferring Autumn Conferring 2015


Files in this item

Files Size Format View

There are no files associated with this item.

This item appears in the following Collection(s)

Show simple item record

© 2015, Jessica Shine. Except where otherwise noted, this item's license is described as © 2015, Jessica Shine.
This website uses cookies. By using this website, you consent to the use of cookies in accordance with the UCC Privacy and Cookies Statement. For more information about cookies and how you can disable them, visit our Privacy and Cookies statement