Issue link: https://digital.copcomm.com/i/1512183
M OT I O N P I CTU R E S O U N D E D I TO R S 115 or by spatial, temporal or cultural proximity to what they stand for." Symbol. "A sign can be called arbitrary when its semiosis exhibits no readily discernible elements of structural similarity (icons), or of proximity or causality (indices)." Icon. "Icons are signs bearing physical resemblance to what they signify." (Tagg, 2013). When analysing film music, it is helpful then, to understand icons as naturalised sound, symbols as arbitrary sounds and indexes as causal sounds. In The Aesthetics of Film Music, Polish musicologist Zofia Lissa (1965: 115-256) discussed some of the basic functions of film music; While this list is not exhaustive, it is a great starting point on the infinite possibilities of creating meaning in the soundtrack with the help of music. As cinema has evolved aesthetically, so has music scoring. Whereas in the past a lot of signaling was done through mickey mousing and musical themes, it isn't the case as often anymore, Buhler points out; "Many composers have adopted a more atmospheric approach, emphasizing mood and affect but without organizing the music Frame from Batman (1989). Frame from The Dark Knight (2008). into strongly delineated themes. This has been particularly evident in recent action films, such Don Davis's music for The Matrix (1999), James Newton Howard and Hans Zimmer's moody scores for Christoper Nolan's Dark Knight (Batman) trilogy, and Henry Jackman's score for Captain America: The Winter Soldier (2014). We can certainly find thematic material in these scores if we go looking for it, but the thematic structure is allusive, and the moody affect almost always overrides thematic articulation." (Buhler, 2016). To illustrate what Buhler is talking about, let's take a look at a shot from Tim Burton's Batman (1989) at [0026:09] when Batman descends upon the gun men and we hear Danny Elfman's Batman theme signaling his heroic appearance along with the sound of his cape. Notice how in this case, after the leitmotif has been established, it works as a symbol for the rest of the film. The musical symbol of Batman. Now, let us look at a shot in Christopher Nolan's The Dark Knight at [01:31:20] where Hans Zimmer's and James Newton Howard's "Agent of Chaos" is boosted at the same time we hear the ascending pitch of Batman's bike accelerating to make more salient the mood and urgency of the situation as Batman rushes to save Rachel but we don't hear an identifiable "Batman theme" per se. When we cut back to the Joker (Heath Ledger) in his cell, "Agent of Chaos" is still playing at a lower level to maintain the tension and grip of the audience but throughout the sequence we don't identify a delineated hero or villain theme in the track, instead it is signaling the present emotional state in the story with music. Here