Incongruent film music is a soundtrack, either diegetic or non- diegetic, which expresses qualities that stand in contrast to the emotions evoked by the events seen. The present article aims at covering two interconnected areas; the first is comprised of a critical recapitulation of available theoretical accounts of incongruent film music, whilst the second part of the paper offers an alternative, embodied-cognitive explanation of the audio-visual conflict which arises from this particular type of incongruence. Rather than regarding it as a phenomenon that works through disrupting conventions, we stress a perceptual-cognitive reason behind incongruence’s emotional strangeness.
|Tijdschrift||Acta Universitatis Sapientiae, Film and Media Studies|
|Nummer van het tijdschrift||1|
|Status||Published - 2013|