By Benjamin Nagari
Through a theoretical and functional exploration of Jungian and post-Jungian innovations surrounding snapshot, this ebook strikes past the visible scope of images to think about the presence and expression of track and sound, in addition to how the psyche encounters improved pictures – archetypal, own or cultural – on either wakeful and subconscious degrees. through heavily reading song in movie, Nagari considers music’s complementary, bettering, significant, and occasionally disruptive, contribution to expressive photographs.
Chapters current a Jungian method of song in movie, highlighting how ‘music-image’ features either independently and along with the visible photograph, and suggesting extra instructions in parts of analysis together with tune remedy and autism. Divided into 3 cumulative components, half I explores the Jungian mental account of the music-image; half II combines concept with perform in analysing how the auditory photograph works with the visible to create the ‘film as a complete’ event; and half III implements a particular realizing of 3 person movie situations of other genres, eras and types as psychologically scrutinised ‘case histories’.
Music as Image may be of curiosity to teachers and scholars within the fields of utilized psychoanalysis and Jungian psychology, song, movie and cultural reviews. With implications for tune treatment and different art-based cures, it's going to even be correct for working towards psychotherapists.
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Extra resources for Music as Image: Analytical psychology and music in film
Sample text
78–79) Following this line of thought, we may adopt the idea that image pre-existed knowledge and is a psychic necessity for the construction of it; knowledge results from the psyche’s capacity of imaging, being a process of engaging images in creating it. Knowledge is consciousness. After Kant, claims Kugler, “psychic images could no longer be denied a central place in modern theories of knowledge, art, existence, and psychology. With this epistemological shift, mental image ceases to be viewed as a copy, or a copy of a copy, and now assumes the role of ultimate origin and creator of meaning and of our sense of existence and reality.
139, dealing with word association theory and tests we read: “A special peculiarity of this subject is the occasional occurrence of marked synesthesias (audition colorée) which influences the reaction”. The autonomous ways of images 25 The notion of intention (above, second meaning) may imply that Martino and Marks’ division into strong and weak synaesthetic motion might be too extreme to allow the whole synaesthetic experience to become a branch of image-processing psychic phenomenon rather just a neurological peculiarity.
In any case, the feelings stemming from the encounter will always stress the personal over the collective, as the symbolic/ semiotic emotional affect goes from the unconscious through the individual’s experience towards the conscious realisation of the ‘experience-as-whole’ – in this case through picture-sound-music. The film creator’s intention may or may not touch the ‘musical ear’ of audiences, thus paving a wider way for an audience-orientated approach to the study of film music. Arguing with the cognitivist position regarding the source of emotion in music, Radford (1989) confesses to being puzzled about his own music-emotion ‘soul search’ when he writes “I am absolutely persuaded that Mozart’s music is morally superior to Tchaikovsky’s without being at all clear what this could mean” (Radford, 1989, p.
