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English summary This master’s thesis examines the use of sound and music in the Peter Jackson movie trilogy The Lord of the Rings (2001-2003). ! With a theoretical inspiration from cognition theory-based studies of film music the thesis in chapter 1 expands the scope to include the two other sound track elements: dialogue and sound effects. In this respect the thesis is in the trend of recent scholarship on film sound as carried out in e.g. Lowering the Boom published in 2008 (edited by Jay Beck and Tony Grajeda) and Hearing the Movies published in 2010 (edited by James Buhler, David Neumeyer and Rob Deemer). With this multi-perspectual approach the study seeks to examine the way expressive sound in Jackson’s cinematic adaption is supporting what is seen as the narrative core of the story by J.R.R. Tolkien: The battle between good and evil. This key narrative dichotomy is used as a structuring principle for the layout of the analytical chapters: ! Chapter 2 is dedicated to an analysis of the way in which the heros of the story are portrayed sonically. It deals with some of the key musical themes composed by Howard Shore, and it explores how music and a special type of silence are being used at emotional peaks, namely in the death scenes of three important characters. ! Chapter 3 is chapter 2’s evil twin in the sense that it also examines some key musical themes that are connected with the evil forces of the Middle-earth universe. But furthermore it also presents and explores some of the most important expressive sound effects that are central to the portrayal and unfolding of evil in the three films. In particular this relates to the complex sound design of the One Ring. ! Chapter 4 contains an examination of what happens with the sound track when the forces of good and evil collide in the films. This study is carried on a macro level that deals with the big battle scene in front of Minas Tirith in Return of the King and on a micro level that focuses on the way the One Ring affects its surroundings with its evil power. ! On the analytical background that has been established through the previous chapters, chapter 5 will deliver an attempt to sum up the different uses of sound in the films in a typology of three expressive sound strategies. This will lead to the argument, 113
that whenever the battle between good and evil is intensified throughout the trilogy, a raised sonical activity by one or more of the three strategies can be noticed. ! In this way this thesis demonstrates how crucial the role of sound is in bringing one of the world’s most popular pieces of fiction alive on the big screen. 114
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Krigslarm og Fredstoner Et studie i
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3.2. Ondskabens reallyde og dialog!
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Hvilken rolle spiller musikbrug og
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! I kapitel 3 vil jeg i forhold til
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trilogien, hvor disse ikke kan afko
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også er blevet anvendt ovenfor. 12
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tilskyndelse bliver draget ud på e
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tilskuer, som har etableret sympati
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1.4.1.1. Den psykosemiotiske tilgan
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skovelverne i Lothlórien. Derfor t
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en række begrænsninger i dennes m
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følgende afsnit vil det ligeledes
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! I LotR-filmene møder vi både ly
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1.4.3. Dialog - ekspressiv behandli
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medieret stemme, som vi møder den
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om han også behandler den i sin ar
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! Således er de forskellige gode o
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levet omtalt. 89 Gondor-temaets for
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Hvis man udhæver de længerevarend
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"# ! # # $ " ## # The $ far $ road
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lys liggetone i strygere, som tilf
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2.1.3. Fellowship-temaet Fellowship
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og Pippin til fange, med et “Let
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Mordorhæren. I det samme vokser en
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egreber bevæger denne relationelle
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! Hele dette ekspressive, meditativ
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med sopransolo og strygere formidle
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Boromir hears within his own ears.
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er det ikke-diegetiske indslag af m
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soloindslag optræder også i en r
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tempoløst crescendo fra tutti stry
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Page 65 and 66: Nature's Reclaimation " ! # $ %! %
Page 67 and 68: slaget, følger Isengard-temaet. De
Page 69 and 70: 3.2.2. Nazgûl-skrig og -stemmer Hv
Page 71 and 72: 7, er Nazgûl nogle fåmælte dræb
Page 73 and 74: agfra i en suspencemættet scene i
Page 75 and 76: spændingen gennem de gentagne inds
Page 77 and 78: døren tager den op af lommen, hør
Page 79 and 80: close-up, begynder en brændende in
Page 81 and 82: 4. Konfrontationen mellem godt og o
Page 83 and 84: doen og beordrer: “Prepare for ba
Page 85 and 86: flok pansrede trolde som det først
Page 87 and 88: idt slutter med et trefoldigt call
Page 89 and 90: ytterne går til angreb og igen sæ
Page 91 and 92: ækkevidde, nu da ringfællesskabet
Page 93 and 94: ikke svarer til den proksemiske zon
Page 95 and 96: måde, at Frodo har handlet ud fra
Page 97 and 98: to venner i en dødelig fight - til
Page 99 and 100: Frodo er offer for. Dermed har lyds
Page 101 and 102: 5. Afsluttende diskussion 5.1. Et u
Page 103 and 104: ! For spørgsmålet er, om en signa
Page 105 and 106: lang række lydlige elementer udvid
Page 107 and 108: 5.1.3. Strategi 3: Relationel stilh
Page 109 and 110: ! I TTT, hvor vi følger tre parall
Page 111 and 112: Afslutning “ To study film sound
Page 113: en visuel kunstform, som værende e
Page 117 and 118: Have, Iben: Lyt til tv, Aarhus Univ
Page 119 and 120: Oversigt over bilag 1-9 1: Oversigt
Page 121 and 122: Oversigt over alle omtalte musikals
Page 123 and 124: The History of the Ring-temaet - so
Page 125 and 126: Skema over Shire-temaets forekomste
Page 127 and 128: Kapitel - tid 19 1:30:37 Handling M
Page 129 and 130: Kapitel - tid 39 1:36:13 40 1:44:07
Page 131 and 132: Skema over centrale begivenheder og
Page 133 and 134: Skema over centrale begivenheder og
Page 135 and 136: Periode Tid Klip/handling Musikalsk
Page 137 and 138: Skema over forekomsterne af Nazgûl
Page 139 and 140: Udskrift af dialogen mellem Gandalf
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