About the Journal

Cinéma & Cie is an international, peer-reviewed academic journal. The research areas of the journal include media history and theory and their relationship; the various intersections between technological, industrial and representational aspects; audiovisual heritage; reception and consumption; the links between different forms of audiovisual narrative, art and communication.

Published twice a year (in Spring and Fall), the journal is structured in four different sections:

– Thematic issue: usually the largest section, devoted to a specific topic. This section only accepts submissions in response to specific calls for essays that are advertised via the journal website;
– Beyond Cinema: a section focused on innovative perspectives on the transformations in the field of film studies. Submissions are accepted only in response to the permanent call for essays advertised on the website;
– Projects & Abstracts: the section details international research and noteworthy Ph.D. thesis projects or abstracts, recommended by supervisors;
– Reviews: the section consists of significant essays, festivals, exhibitions, conferences and related content.

Current Issue

Vol. 24 No. 43 (2024): New Musical Writing Processes for Cinema
					View Vol. 24 No. 43 (2024): New Musical Writing Processes for Cinema

Edited by Roberto Calabretto, Luca Cossettini and Donald Greig

This issue of Cinéma & Cie presents a collection of papers that share a common purpose of remodeling existent theories developed to analyse “art” music in order to reflect the current aesthetic and production context of film music. The thematic issue is a result of research done in the context of the PRIN2020 project “New music writing processes for cinema”, (P.I. prof. Roberto Calabretto. Progect number: 2020XWWY3M).
The study of the creative process of the new musical writing for cinema requires appropriate methods able to investigate how and to what extent the development of increasingly advanced technologies might have influenced composition paradigms.
At the same time, new technologies of sound design have presented new creative possibilities that still allow for the distinctive voices of individual composers to be heard. Direct contact between musicologists and film music composers together with industry professionals encourages more detailed analysis of topics not treated in existing literature.
Only by addressing specific aspects of more recent film music composition and production, and developing new analytical tools, can we historicize and fully understand the differences between the film music of the twentieth and the twenty-first centuries.

Published: 2025-02-10

Full Issue

Introduction

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