This book explores the concept of incongruent film music,
challenging the idea that this label only describes music that is
inappropriate or misfitting for a film’s images and narrative.
Defining incongruence as a lack of shared properties in the
audiovisual relationship, this study examines various types of
incongruence between a film and its music and considers the active
role that it can play in the construction of a film’s meaning and
influencing audience response. Synthesising findings from research
in the psychology of music in multimedia, as well as from ideas
sourced in semiotics, film music, and poststructuralist theory,
this interdisciplinary book provides a holistic perspective that
reflects the complexity of moments of film-music incongruence. With
case studies including well-known films such as Gladiator and The
Shawshank Redemption, this book combines scene analysis and
empirical audience reception tests to emphasise the subjectivity,
context-dependency, and multi-dimensionality inherent in
identifying and interpreting incongruent film music.Â
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