‘From the videos to Tom & Jerry. Music counts in audiovisual ‘

‘From the videos to Tom & Jerry. Music counts in the audiovisual ‘part of the principle that When music is inserted into an audiovisual device, it simply ceases to be ‘music’ to become a more (although substantial) element of a wonderful machinery. This detonates Cognitive Subjectivation Processes With those who incorporate their own internal narrative mechanisms into their audiences: we are not their spectators but their most billed workers.

The book highlights the aporia of the notions of “diegetic and non -diegetic music.” This binary opposition, pillar of the traditional analysis of sound and music in narrative audiovisual, generates numerous theoretical and epistemic problems. The Anglophone academy has been discussing it intensely. However, inexplicably, in Latin America there is hardly any trace of these reflections. From a thorough theoretical-historical, narratological study and multiple examples analysissome of the insurmountable contradictions that cinema musicology have inherited from structural linguistics and their particular idiosyncratic modes of taste the classic Hollywood cinema are indicated. ‘From videos to Tom & Jerry’ rejects the diegetic-not dietary opposition as “ontological topology” to defend that any sound can assume simultaneously and at any time multiple functions inside and outside the story told. The important thing here is not “where is the sound”, but “what it does; What makes us and what makes us do »as collaborating people of the audiovisual device.

In cartoons we acquire basic audiovisual competences. Therefore, The book deals with the fascinating music that Scott Bradley composed for the classic series «Tom & Jerry». Check both the different types of music that you use as some of its most amazing compositional strategies. Of particular interest is the Study of the role of music in construction different types of gags and in the management of the macro narrative structure of each chapter. He refuses to consider the “Mickey Mousing” as a kind of intersemotic musical translation that mechanically sounds what happens in the image. Instead, he understands it as a unit of multimodal meaning through which the physical cattle of the “comedy of blow and porrazo” expand in our own bodies.

He advertising spot It is one of the most complex audiovisual artifacts and one of the most refined, pernicious, cunning, dangerous and effective expressions of audiovisual culture in advanced capitalism. ‘From the videos to Tom & Jerry’ explores their cunning to mobilize deep desires and drives and the uses it makes of different types of music from the 1950s to the recent «Marketing of experience and branded content». Through the analysis of about thirty spots, he points out How music and sound are able to support different models, schemes and plot strategies that dialogue with different structures and advertising formats. Their mechanisms not only integrate and direct all the plot elements in a way that would be impossible for the spoken word or the image. They also incorporate their spectators symbolic and bodily to build their Deluste seduction devices. In this way, music collaborates to arouse appetite for products, services and brands; to build imaginary deranged about them; To manage narratives and gags and raise haptic and bodily sensations in their audiences. Above all, with a chilling efficacy, it transforms us from television people to consumers and consumer to irreducible fans of the brands.

Finally, it enters us in the Participatory digital culture and in the Digital conversations that we hold through those unusual remixes that we call videomemes. Neither every remix is ​​in itself a meme, nor every intervention in the participatory digital culture builds a memories. Therefore ‘of the videos to Tom & Jerry’ critically presents the main recent theories that provide the conceptual basis for the study of this kind of Global digital folklore. With them analyzes the main components of a memical and the processes of expansion and transformation of their arguments, views and humor elements. Through the CIBER-ETOGRAPHY It reveals the motivations that encourage different “producers” to participate in some memories and how through them say things about music or the world.

‘From the videos to Tom & Jerry. Music counts in audiovisual ‘provides a Updated ultrasound on how our sound-musical experience is conceived and understood through the screens of all kinds.

Book card

– Title: ‘From the videos to Tom & Jerry: Music counts in the audiovisual’

– Author: Rubén López Cano

– Editorial: University of Jaén. Editorial UJA

– Edition year: 2024

– Available in Editorial UJA