Genhør med dogme 95 [Dogme 95 reheard]

Assuming that the 10 Danish Dogma films can be considered genre films, the article analyses the use of sound and music in these films. The “Vow of Chastity” proposed by the Dogma directors specifies that sound and image must never be produced separately, and the article presents elements of producti...

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Main Author: Palle Schantz Lauridsen
Format: Article
Language:Danish
Published: Sammenslutningen af Medieforskere i Danmark (SMID) 2010-05-01
Series:MedieKultur: Journal of Media and Communication Research
Subjects:
Online Access:https://tidsskrift.dk/mediekultur/article/view/2116
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author Palle Schantz Lauridsen
author_facet Palle Schantz Lauridsen
author_sort Palle Schantz Lauridsen
collection DOAJ
description Assuming that the 10 Danish Dogma films can be considered genre films, the article analyses the use of sound and music in these films. The “Vow of Chastity” proposed by the Dogma directors specifies that sound and image must never be produced separately, and the article presents elements of productions practice as well as aesthetic considerations. Using examples from the finished films, it demonstrates how the artistic intention formulated in the set of rules was handled during production and how it influenced the finished films. The individual Dogma films were quite different from an auditory point of view, but among the auditory characteristics of the films were the auditory jump cut and the abolition of the traditional dichotomy between diegetic and non-diegetic music.
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spelling doaj.art-34ec20272b00486791d416ba3b83095f2022-12-21T22:56:12ZdanSammenslutningen af Medieforskere i Danmark (SMID)MedieKultur: Journal of Media and Communication Research0900-96711901-97262010-05-01264810.7146/mediekultur.v26i48.21161926Genhør med dogme 95 [Dogme 95 reheard]Palle Schantz LauridsenAssuming that the 10 Danish Dogma films can be considered genre films, the article analyses the use of sound and music in these films. The “Vow of Chastity” proposed by the Dogma directors specifies that sound and image must never be produced separately, and the article presents elements of productions practice as well as aesthetic considerations. Using examples from the finished films, it demonstrates how the artistic intention formulated in the set of rules was handled during production and how it influenced the finished films. The individual Dogma films were quite different from an auditory point of view, but among the auditory characteristics of the films were the auditory jump cut and the abolition of the traditional dichotomy between diegetic and non-diegetic music.https://tidsskrift.dk/mediekultur/article/view/2116Dogme 95film sound
spellingShingle Palle Schantz Lauridsen
Genhør med dogme 95 [Dogme 95 reheard]
MedieKultur: Journal of Media and Communication Research
Dogme 95
film sound
title Genhør med dogme 95 [Dogme 95 reheard]
title_full Genhør med dogme 95 [Dogme 95 reheard]
title_fullStr Genhør med dogme 95 [Dogme 95 reheard]
title_full_unstemmed Genhør med dogme 95 [Dogme 95 reheard]
title_short Genhør med dogme 95 [Dogme 95 reheard]
title_sort genhor med dogme 95 dogme 95 reheard
topic Dogme 95
film sound
url https://tidsskrift.dk/mediekultur/article/view/2116
work_keys_str_mv AT palleschantzlauridsen genhørmeddogme95dogme95reheard