Blurring the line? Music, sound and “sonic gaze” in post-ceasefire Troubles-themed film

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dc.contributor.authorO’Flynn, Johnen
dc.contributor.editorGreene, Lizen
dc.date.accessioned2024-07-02T13:19:06Z
dc.date.available2024-07-02T13:19:06Z
dc.date.issued45475en
dc.description.abstractThis article appraises developments in soundtracks of narrative fiction features based on the Northern Ireland Troubles, focusing on selected titles released in the post-ceasefire period that was consolidated by the Anglo-Irish (“Good Friday”) agreement of 1998. It does this with reference to earlier approaches to music and sound for Troubles-themed film, and by drawing on Danijela Kulezic-Wilson’s sound-design-is-the-new-score proposition. The article advances “sonic gaze” as a pertinent critical lens through which to complement artistic appraisals of historical and contemporary soundtracks in light of political and colonial contexts and legacies. In comparison to earlier Troubles-themed film, a small number of narrative fiction features from the turn of the twenty-first century propose alternative positions and/or innovations in their overall sound design. Readings of Resurrection Man (Marc Evans, 1998), Hunger (Steve McQueen, 2008), Five Minutes of Heaven (Oliver Hirschbiegel, 2009) and ’71 (Yann Demange, 2014) interpret several significant soundtrack developments. These arise from the involvement of popular music producers, notably David Holmes, technological affordances (production and postproduction) and alternative artistic perspectives that interrupted a colonial-anthropological sonic gaze. The article concludes that Hunger comes closest to Liz Greene and Kulezic-Wilson’s theorisations on the integrated soundtrack and on narrative film’s potential for achieving a holistic audiovisual musicality.en
dc.description.statusPeer revieweden
dc.description.versionPublished Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationO’Flynn, J. (2024) 'Blurring the line? Music, sound and ‘sonic gaze’ in post-ceasefire Troubles-themed film', Alphaville: Journal of Film and Screen Media, 27, pp. 223–239. DOI: https://doi.org/10.33178/alpha.27.18en
dc.identifier.doi10.33178/alpha.27.18en
dc.identifier.endpage239en
dc.identifier.issued27
dc.identifier.journaltitleAlphaville: Journal of Film and Screen Mediaen
dc.identifier.startpage223en
dc.identifier.urihttps://hdl.handle.net/10468/16071
dc.language.isoenen
dc.publisherFilm and Screen Media, University College Corken
dc.relation.ispartofAlphaville: Journal of Film and Screen Mediaen
dc.rights© 2024, the Author(s). This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.en
dc.rights.urihttps://creativecommons.org/licenses/by-nc/4.0/
dc.subjectMusic and sound designen
dc.subjectSonic gazeen
dc.subjectDanijela Kulezic-Wilsonen
dc.subjectPost-ceasefire narrative fiction filmen
dc.subjectDavid Holmesen
dc.titleBlurring the line? Music, sound and “sonic gaze” in post-ceasefire Troubles-themed filmen
dc.typeArticle (peer-reviewed)en
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