"I make films to be seen": the narrative issue of Flora Gomes by Jusciele Oliveira

“…In this sense, the present abstract "I make films to be seen": an analysis of the film narrative of Flora Gomes" proposes emphasizing the elements of narrative cinematography of the fiction films of Flora Gomes present in the discourse, in themes, in the soundtrack, in orality, in time, in duration, in space, in camera movements, in the preparation of actors, in the work of illumination of the black body, in the scenery, not the visual metaphors of this director.…”
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"Palabras para Julia" and the Latin American songs by Sabrina Riva

“…In this sense, his classic composition, “Palabras para Julia”, has been set to music insistently by various songwriters and folk groups, especially, those seated in the Rio de la Plata, who believe in their testimonial value, but also as a timeless legacy, stripped of absolute truths, have sung and redefined every time, alternately making a film soundtrack, music political acts and tributes to human rights.…”
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Women, migrations and rock without borders by Paula GUERRA

“…Through this analysis, we were able to follow, explain and understand this woman’s migrant trajectory and how that path was always accompanied by a soundtrack of which she was the creator and audience, attempting to show the possibilities that music offers for identity construction and reconstruction, as well as providing reasons and contexts for migration.…”
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What are the viewers’ reviews and emotions in Filmaffinity? A netnographic analysis by Roberto Cervelló Royo, Víctor Rubio Aurrecoechea, José Serafín Clemente Ricolfe

“…The second dimension contrasts positive perceptions against negative ones, allowing to detect market opportunities associated with a good soundtrack and a good plot. This second axis will also facilitate the detection of the worst rated films. …”
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Prediction of Song Popularity Based on BILLBOARD Chart Using The NAÏVE BAYES Algorithm by Farid Sanitas Bachtiar

“…To find out if a song is popular or not, song lovers usually specify certain criteria such as artist, record label, genre, collaboration or featuring, and soundtrack. Another way that can be done is to seek information from the internet. …”
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Melancolia in progress: uma leitura de Os famosos e os duendes da morte by Rejane Rocha

“…This novel is a piece of work related to a wider project that also includes a movie, a soundtrack and several videos uploaded to YouTube. Because of this, it illustrates some writing and reading procedures that are typical of the digital context.…”
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Exilens ljudspår by Markus Huss

“… The Soundtrack of Exile. Towards an intermedial interpretation of Peter Weiss’ Literary Works With the Point of Departure in Der Schatten des Körpers des Kutschers. …”
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Il potere del fischio. Un percorso tra usi e riusi cinematografici by Marco Cosci

“…For that purpose, some key concepts will be explained to frame audiovisual construction strategies, providing research methods and skills applicable to other soundtrack elements. Finally, attention is drawn to the processes of re-semantization activated by the citation of pre-existing music, taking into account intertextual and intermedial references.…”
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Gli archivi della musica cinematografica in Italia: uno strumento indispensabile per la ricerca, la prassi esecutiva e la divulgazione by Roberto Calabretto

“…The article also contains some proposals to create a network of film music archives, in order to facilitate the work of reconstructing the complex links between those materials that later become part of a soundtrack, such as scores, sound recordings, notes, and film scripts.…”
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Song featuring lyrics ‘Oh Senor…’ quite a lot’: Mayan Evangelical Singer by Gavin Weston

“…I now recognise through others that the sense of sinking or losing the plot is a relatively common experience in fieldwork – each person’s shaped by the specificities of their situation. This song was the soundtrack to my madness.…”
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Television Sound Operators by Heath, Tim

“…Despite notable recent efforts, this lack of academic engagement is perhaps at its most pronounced in regards to the sub group of television operators who record, mix, and edit the soundtrack of British television. However, hands on methodologies continue to gain traction in the area of film and television research and, in doing so, create new opportunities to engage with below the line practices and bring into focus the hidden work of production personnel. …”
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A Short Cross-Analysis of Brazilian Capoeira and Thai Sarama Music and Shared Ritual Practices by Williams, Duncan

“…In Thailand, competitive matches are traditionally accompanied by their own form, Sarama, as part of the Ram or Phleng Muay (a pre-fight ritual), which includes a musical soundtrack in direct response to the fight. The ritualistic nature of the Sarama performance shares some striking musical features with capoeira, despite having no obvious shared ancestry (the first commercial gym to offer Muay Thai outside Thailand was opened in Brazil in the late 1970s). …”
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On Dennis Oppenheim’s marionette theatre by Robert Slifkin

“…Between 1974 and 1978 the American artist Dennis Oppenheim staged a series of dramatically lit and oftentimes disturbing tableaux featuring motorized, less-than-life-size marionettes that jerkily moved to a pre-recorded soundtrack of the artist’s voice or music recorded by the artist. …”
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Subject-Position and Béla Bartók’s Music for Strings, Percussion, and Celesta (1936) in Stanley Kubrick’s The Shining (1980) by Sarah Lucas

“…Twentieth-century art music composed by Bartók, Ligeti and Penderecki constitutes a large portion of the soundtrack for Stanley Kubrick’s 1980 film adaptation of Stephen King’s novel, The Shining. …”
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“All the Other Players Want to Look at My Pad”: Grime, Gaming, and Digital Identity by Rob Gallagher

“…This article traces grime’s relationship with gaming from the genre’s inception to the present, focusing on two case studies: veteran London MC D Double E’s 2010 track “Street Fighter Riddim” and Senegalese-Kuwaiti musician Fatima Al Qadiri’s 2012 Desert Strike EP, a “soundtrack” to her experiences of the first Gulf War. …”
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Music Becomes Emotions: The Musical Score in Two Productions of A Streetcar Named Desire by Tomaž Onič

“…The titles of the 16-track score suggest that the music focuses on the characters, the setting, main motifs, crucial events and states of mind. The film soundtrack could thus be denoted as integral to and harmonized with the dramatic action. …”
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Multimode delivery in the classroom by Dodd, William Steven

“…There is an increasing interest in the use of digitally-recorded audiovisual materials with both soundtrack and subtitles in the same language as a language-learning aid. …”
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Listening to Red by Sinazo Mtshemla, Gary Minkley, Helena Pohlandt-McCormick

“…We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.…”
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The technoperception of electronic sound in cyberculture by Begoña Abad Miguélez

“…However, in the "digital" era in which computers govern our daily lives, it would be an unpardonable sin not to consider electronic, digitalised music as the most appropriate soundtrack for this new context. For these reasons, in this paper we will look at some of the cultural changes that characterise cyberculture and attempt to establish connections between the image revolution and the revolution in electronically generated music. …”
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‘It was what I pulled out of that novel that made the film’. Literary, Film and Musical Adaptations by Marida Rizzuti

“…In conclusion, it will been shown how the music does not constitutes only a soundtrack, an element which is added to the image, but it is a creative instance, bearer of meaning as the image: it is therefore more proper speaking of audiovisual texts, than of filmic adaptations of literary texts.…”
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