Filmmusikens betydelse : En receptionsstudie om hur musik i film bidrar till förståelse

This essay is about film music and how people react in a study where the music and picture comes from two different genres that both has unique conventions, of how the “standard” music ought to be composed. The purpose of this essay is mainly to try and get an understanding of film music’s importance in the movies dramatic structure, and how people react when the conventions of music is broken and two genres are combined into one.The questions that are to be answered in this essay are: *how could music as a tool change the character of a film? *How does the participants, of this inquire, experience the film depending on what music they hear? *And what is it that the participants think that the music brings to the movies narration?The method of this survey is based on a number of participants that have responded on questions of how they experienced the movie, both with music and without. This study has shown that when music and picture, which comes from different genres, interact with each other it tends to create comical features and a sense of that the music has an advantage in terms of the genre that people feel that the film has.

Exploring 'Samoaness' in the Samoan language film The Orator (O Le Tulafale)

The Pacific nation of the Independent Samoa (formerly Western Samoa)  is not known for having a developed film industry.   In 2011, a Samoan languge film called The Orator (O le Tulafale) placed the spotlight on Samoa, its people, and the Samoan culture when it became the country’s first ever film to be accepted into major international film festivals such as the 68th Venice Film Festival.  Samoans the world over have embraced the film for its richness, compassion, and authenticity. Yet at times, the film portrays the Samoan culture as harsh and cruel.   Samoans are usually quick to criticise negative portrayals of their culture but the thousands of comments on the film’s official Facebook page show otherwise.  From April 2011 to March 2012, there were only 11 comments criticising the film on Facebook, and these criticisms were denounced as ‘un-Samoan’. This raised the question as to why Samoans did not react to the unflattering portrayals of their culture, but instead react against legitimate criticisms of the film.  By using Foucault’s concept of heterotopia and the Samoan narrative structure of fāgogo, a heterotopia space and a utopia space are created in which past memories confirming Samoan cultural identity and bonds to the culture are evoked and are (re)experienced by Samoans while viewing the film.  Thus the film’s ability to encourage this is what Samoans praise rather than the actual film.