The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)

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    This article focuses on the musical dimension of experimentation
    in the creative space of science fiction film, concerning its uncanny, new
    and fantastic places, and otherworldly encounters within fictional, but
    possible worlds. The aim is to consider the function and potential of
    the audible – to examine how sound is used in the filmic exploration of
    the boundaries between the human and the alien (the unknown). More
    particularly, we are interested in the role that human voice-like and human
    vocal sounds can play in this divide, as we believe manipulations with
    such audible qualities contribute greatly to the emotional dimension
    of cinematic stories of otherworldly encounters. For that purpose, we
    concentrate on Denis Villeneuve’s Arrival (2016) and its soundtrack
    composed by Jóhann Jóhannsson, who resorts to different singing practices
    and vocal techniques to accompany a story charting the territories between
    the human and the alien.
    Original languageEnglish
    Pages (from-to)1-19
    Number of pages19
    JournalActa Universitatis Sapientiae, Film and Media Studies
    Publication statusPublished - Nov-2021

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