Issue link: https://digital.copcomm.com/i/1504731
M OT I O N P I CTU R E S O U N D E D I TO R S 59 correlations that exist between the visual and aural domains and how schemas and metaphors can be used to analyse the film soundtrack at syntactic and semantic levels. It is important to realise that these conceptual metaphors are not rules of sound design. They are just tools to help us understand, analyse, and create soundtracks by exploring the most commonly established correlations between sound, music, and meaning while being aware of how our anatomic disposition, conditions the way our minds look for structural, semantic, and syntactic congruence. References List •Chattah, J., (2015) 'Film Music as Embodiment' in Maarten Coëgnarts and Peter Kravanja (eds.) Embodied Cognition and Cinema. Leuven: Leuven University Press, 2015: 81-112. pp. 81-112. •Cipa, M., (2016) Embodied Cognition and Cinema. Projections, Book Reviews. 10, 149-155. •Cox, A., (1999) The Metaphoric Logic of Musical Motion and Space. University of Oregon. •Cuccio, V., (2018) Attention to Metaphor: From Neurons to Representations, John Benjamins Publishing Company, Amsterdam/ Philadelphia. 'foundational,' 'solid,' 'home,' or 'final.' In contrast, the leading-tone is generally described as 'unstable.' 'pointing.' 'yearning.' 'restless,' or 'longing.'" While Fern is at Dave's house, we can notice that she is visibly restless and longing to return to the road. The score music only returns when she leaves the house and the film ends with her driving her truck down the road. She's finally home and the picture cuts to black right on the tonic note of Ludovico's "Low Mist (Day 3)." In these sequences from Nomadland, tonic notes are used for narrative closure, and leading-tones, along with transient sound effects are used to interrupt or put the meta- narrative of the film in motion. We have thus used Chattah's path, and expectation schemas in Chloe Zahoe's Nomadland to analyse how music and sounds were used to create closure by working along the expectation of the audience and restlessness by playing against that expectation. In this article, we've looked at various techniques that are used to produce embodied meanings. We've looked at some of the kinesthetic •Coëgnarts, M. and Kravanja, P., (2015) Embodied Cognition and Cinema. Leuven University Press (G - Reference, Information and Interdisciplinary Subjects Series). •Guerra, S.L., (2010) Pensar el sonido: una introducción a la teoría y la práctica del lenguaje sonoro cinematográfico. Universidad Nacional Autónoma de México (Miradas en la oscuridad). •Lakoff, G. and Johnson, M., (1999) Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. Basic Books (Collection of Jamie and Michael Kassler). •Lakoff, G. and Johnson, M., (1980) Metaphors We Live By (Chicago: University of Chicago Press). (1999) Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought (New York: Basic Books). •Shapiro, L., (2010) Embodied Cognition. Taylor & Francis Group, London. •Zoltán Kövecses, (2016) 'Conceptual Metaphor Theory,' in The Routledge Handbook of Metaphor and Language. Routledge. Videography •Itclassics (2017) Wile E. Coyote vs. Gravity. [online video] Available at: https://www.youtube.com/ watch?v=wRSHzenjiNA •OfficialSBIFF (2020) SBIFF Cinema Society Q&A Nomadland. [online video] Available at: https://www.youtube. com/watch?v=eAAh3-Rvup4 Frame from Nomadland (2020).