MMCS303 Music, Sound and Moving Image

MMCS303
Music, Sound and Moving Image

S1 Day 2016
Department of Media, Music, Communication and Cultural Studies
Contents
Disclaimer
General Information 2 Macquarie University has taken all reasonable
measures to ensure the information in this
Learning Outcomes 3 publication is accurate and up-to-date. However,
the information may change or become out-dated
as a result of change in University policies,
Assessment Tasks 3 procedures or rules. The University reserves the
right to make changes to any information in this
Delivery and Resources 6 publication without notice. Users of this
publication are advised to check the website
Policies and Procedures 8 version of this publication [or the relevant faculty
or department] before acting on any information in
Graduate Capabilities 9 this publication.
http://unitguides.mq.edu.au/unit_offerings/57386/unit_guide/print 1
Unit guide MMCS303 Music, Sound and Moving Image
General Information
Unit convenor and teaching staff
Lecturer in Media Studies
Ilona Hongisto
ilona.hongisto@mq.edu.au
Contact via email
Y3A 193F
Thursdays 2-4pm
Associate lecturer
Waldo Garrido
waldo.garrido@mq.edu.au
Credit points
3
Prerequisites
39cp
Corequisites
Co-badged status
Unit description
Moving images, in whatever form we consume them, are nothing without the soundtracks that
underpin them and the soundscapes that surround them. This unit allows students to explore,
analyse and create screen soundtracks building on theories of film and television studies,
popular music studies, interactivity and gaming, genre, cultural history, audience engagement,
narrative and character development. Fans, musicians, screen makers and anyone interested
in exploring multimedia communication would benefit from this exploration into the unique
interactions between music, sound and the moving image, as we break down the
effectiveness of visual and sonic storytelling in a variety of contexts. Music, Sound and the
Moving Image explores histories of screen and sound technologies and their interactions, but
also uses these as a way to track and predict how future developments might play and sound
out.
Important Academic Dates

Information about important academic dates including deadlines for withdrawing from units are
available at http://students.mq.edu.au/student_admin/enrolmentguide/academicdates/
Learning Outcomes
1. Understand and recall 'vocabulary' for screen sound analysis
2. Create/synthesise practical skills in screen sound creation
3. Apply focused listening skills directly related to soundtracks
4. Evaluate the historical and technological developments in screen sound
5. Analyse the role of sound in different genres
Assessment Tasks
Name Weighting Due
Assessment Task 1 30% 29 March 5pm
Assessment Task 2 30% 29 April during tutes
Assessment Task 3 40% 10 June 5pm
Assessment Task 1
Due: 29 March 5pm
Weighting: 30%
Assessment Task length: Must not exceed 1500 words (including your cue sheet).
Submission is via TURNITIN no hard copy submission.
Choose ONLY ONE of the three scenes listed below from Moulin Rouge! (Baz Luhrmann, 2001)
and complete an analysis of screen sound including, but not limited to, music's emotional effect
and relationship with narrative.
These are the ONLY scene choices for analysis:
1. A kingdom of night-time pleasures: http://aso.gov.au/titles/features/moulin-rouge/clip1/
2. Satine, the sparkling diamond: http://aso.gov.au/titles/features/moulin-rouge/clip2/
3. Love: http://aso.gov.au/titles/features/moulin-rouge/clip3/
While you only need to engage with one clip, you will need to see the rest of the film in order to
understand the contextual importance of the scene you are analysing and develop an argument
of the overall importance of this scene.
The unit reader includes two existing readings of the film to support the analysis.
Students will present their findings as an annotated cue sheet (a blank template will be placed in
iLearn) and a written analysis based on the identified cues. The cue sheet functions as the basis
for the written analysis.
The most productive responses will begin by diagnosing key aspects of the relationship between
sound and image, then exploring how these impact the film overall. You do not have to note
every sound and image edit, but you will be expected to note and discuss at least 10 cues.
Assessment criteria: You will be assessed on your ability to diagnose screen sound as it
occurs (i.e. log sound cues as they occur) AND comment on their significance critically. You will
need to use appropriate vocabulary for film sound analysis.
This Assessment Task relates to the following Learning Outcomes:

Understand and recall 'vocabulary' for screen sound analysis
Apply focused listening skills directly related to soundtracks
Analyse the role of sound in different genres
Assessment Task 2
Due: 29 April during tutes
Weighting: 30%
Working in groups of 34 that will be allocated by the tutors students will create the soundtrack
to a short section of a film as well as a 500 word justification (each student submits their own
justification which will be marked separately to the group work).
Assessment tasks are to be submitted IN PERSON during your tutorials on April 29. Each
member of the group MUST BE PRESENT to submit. Each group must submit one
AUDIOVISUAL FILE (please label the file with all contributors' names or student IDs. In
addition, each student must print and submit their own 500 WORD JUSTIFICATION. The group
works will be presented to the rest of the class on the day of submission.
Groups must choose between the following clips:
1. http://aso.gov.au/titles/features/the-woman-suffers/clip1/
Please note: In order to complete the task, students must download a clip from the links above
and synch the sound to the given image track.
The focus of the assessment task is to create a soundtrack that works effectively with the events
depicted in the scene.
Soundtracks should reflect the theoretical and practical foundations covered throughout the
course. It is recommended that groups link the image and sound tracks on a simple home
computer system such as iMovie or a PC equivalent. IF YOU ARE UNABLE TO DO THIS WITH
YOUR EXISTING EQUIPMENT IT IS UP TO YOU TO DISCUSS WITH THE TUTORS SO THAT
TIMELY ACCESS CAN BE ARRANGED.
Assessment criteria: The group work will be assessed on a pass/fail basis with a focus on the
effectiveness of the created relationships between image and sound. The individual 500 word
justifications will be assessed separately with a focus on the student's ability to reflect on the
group choices analytically.

Create/synthesise practical skills in screen sound creation
Evaluate the historical and technological developments in screen sound
Assessment Task 3
Due: 10 June 5pm
Weighting: 40%
Assessment Task length: Must not exceed 2000 words (including references).
Submission is via TURNITIN no hard copy submission.
Assessment task 3 will draw primarily on material from the second half of the course, however
material from the first half of the course will also benefit here.
The best way to achieve maximum results for this task is to maintain a commitment to the course
by keeping up with weekly lectures, tutorials and readings.
Please note: This is a formal essay which will require clear referencing and appropriate
research. The weekly readings and other recommended texts are an important place to start for
this assessment task. You MUST refer to at least three (3) academic sources on the topic in your
essay.
Essay question choices:
1. Musical moments in film. Choose two 'musical moments' (as defined by Amy Herzog) from
films that abide to different genre conventions. Analyse the impact of the musical moments on
the films' narratives and reflect on your findings in relation to their genre specificity.
2. Sounding bodies. Choose two screen media pieces from different time periods that depict the
actions of human bodies with sound. Examine the ways in which sound relates to the body and
compare your examples analytically with reference to their historical context.
Assessment criteria: You will be assessed on your ability to describe the audiovisual texture of
your chosen examples as well as on your ability to contextualize the examples to genres and/or
historical periods. Your use of academic literature will be assessed with particular attention
placed on the appropriateness of the literature to your examples.

Delivery and Resources

Compulsory weekly readings are listed below. They are available at the Printery for on demand
printing. Students are expected to bring the unit reader to class each week.
Week 1 (4.3.)
Anahid Kassabian (2001) How Music Works in Film in Hearing Film: Tracking Identifications in
Contemporary Hollywood Film Music. New York: Routledge, pp. 3760.
Carol Piechota (2006) Give Me a Second Grace: Music as Absolution in The

Royal Tenenbaums. Online: http://sensesofcinema.com/2006/on-movies-musicians-and-
soundtracks/music_tenenbaums/
Week 2 (11.3.)
James Buhler & David Neumeyer (2010) The Musicality of the Sound Track: Concepts and
Terminology in Hearing the Movies: Music and Sound in Film History. Oxford: Oxford University
Press, pp. 3464, 425432.
Week 3 (18.3.)
Richard Dyer (2002/1977) Entertainment and Utopia in Steven Cohan (ed.) Hollywood Musicals,
The Film Reader. New York: Routledge, pp. 1930.
Rick Altman (2002) The American Film Musical as Dual-Focus Narrative in Steven Cohan (ed.)
Hollywood Musicals, The Film Reader. New York: Routledge, pp. 4151.
Week 4 (1.4.)
Michel Chion (1994) The Audio Visual Scene in Audio-Vision. New York: Columbia University
Press, pp. 6694.
Robynn J. Stilwell (2013) Audiovisual Space in an Era of Technological Convergence in John

Richardson, Claudia Gorbman & Carol Vernallis (eds.) The Oxford Handbook of New Audiovisual
Aesthetics. Oxford: Oxford University Press, pp. 125145.
Week 5 (8.4.)
Amy Herzog (2010) The Musical Moment in Dreams of Difference, Songs of the Same: The
Musical Moment in Film. Minneapolis: University of Minnesota Press, pp. 58.
John Richardson (2013) The Neosurrealist Musical and Tsai Ming-Liangs The Wayward Cloud
in John Richardson, Claudia Gorbman & Carol Vernallis (eds.) The Oxford Handbook of New
Audiovisual Aesthetics. Oxford: Oxford University Press, pp. 284308.
Week 6 (29.4.)
Stephen Deutsch (2010) Psycho and the orchestration of anxiety in The Soundtrack 3:1, 5366.
Week 7 (6.5.)
Graham Wood (2008) Why do they start to sing and dance all of a sudden? Examining the film
musical in W. Everett & P. Laird (eds.) The Cambridge Companion to the Musical. Cambrisge:
Cambridge University Press, pp. 305324.
Stan Hawkins (2013) Aesthetics and Hyperembodiment in Pop Videos: Rihannas Umbrella in
John Richardson, Claudia Gorbman & Carol Vernallis (eds.) The Oxford Handbook of New
Week 8 (13.5.)
Jeffrey Ruoff (1992) Conventions of Sound in Documentary in Rick Altman (ed.)
Sound Theory, Sound Practice. New York: Routledge, 217234. Online:

https://www.dartmouth.edu/~jruoff/Articles/ConventionsofSound.htm
Selmin Kara & Alanna Thain (2015) Sonic Ethnographies: Leviathan and New
Materialisms in Documentary in Holly Rogers (ed.) Music and Sound in Documentary Film. New
York, Routledge, pp. 180192.
Week 9 (20.5.)
Aline Remael (2012) For the Use of Sound. Film Sound Analysis for Audio-Description: Some
Key Issues in MonTI 4, pp. 255276.
Week 10 (27.5.)
Mary Ann Doane (1985) The Voice in the Cinema: The Articulation of Body and
Space in Elizabeth Weis and John Belton (eds.) Film Sound: Theory and Practice. New York:
Columbia University Press, pp. 162176.
Week 11 (3.6.)
Nicholas Cook (2013), Beyond Music: Mashup, Multimedia Mentality, and Intellectual Property
Philip Auslander (2013) Sound and Vision. The Audio/Visual Economy of Musical Performance
Readings for Assessment Task 1:
Sangita Gopal & Sujata Moorti (2011) Bollywood in Drag: Moulin Rouge! and the Aesthetics of
Global Cinema in Camera Obscura 25:3, pp. 2967.
Katherine R. Larson (2009) Silly Love Songs: The Impact of Puccinis La Bohme on the
Intertextual Strategies of Moulin Rouge! in The Journal of Popular Culture 42:6, pp. 10401052.
Policies and Procedures

Macquarie University policies and procedures are accessible from Policy Central. Students
should be aware of the following policies in particular with regard to Learning and Teaching:
Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html
New Assessment Policy in effect from Session 2 2016 http://mq.edu.au/policy/docs/

assessment/policy_2016.html. For more information visit http://students.mq.edu.au/events/2016/
07/19/new_assessment_policy_in_place_from_session_2/
Assessment Policy prior to Session 2 2016 http://mq.edu.au/policy/docs/assessment/policy.html
Grading Policy prior to Session 2 2016 http://mq.edu.au/policy/docs/grading/policy.html
Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html
Complaint Management Procedure for Students and Members of the

Public http://www.mq.edu.au/policy/docs/complaint_management/procedure.html
Disruption to Studies Policy http://www.mq.edu.au/policy/docs/disruption_studies/policy.html The

Disruption to Studies Policy is effective from March 3 2014 and replaces the Special
Consideration Policy.
In addition, a number of other policies can be found in the Learning and Teaching Category of
Policy Central.
Student Code of Conduct

Macquarie University students have a responsibility to be familiar with the Student Code of
Conduct: https://students.mq.edu.au/support/student_conduct/
Results
Results shown in iLearn, or released directly by your Unit Convenor, are not confirmed as they
are subject to final approval by the University. Once approved, final results will be sent to your
student email address and will be made available in eStudent. For more information
visit ask.mq.edu.au.
Additional information
MMCCS website https://www.mq.edu.au/about_us/faculties_and_departments/faculty_of_arts/

department_of_media_music_communication_and_cultural_studies/
MMCCS Session Re-mark Application http://www.mq.edu.au/pubstatic/public/

download/?id=167914
Information is correct at the time of publication
Student Support
Macquarie University provides a range of support services for students. For details,
visit http://students.mq.edu.au/support/
Learning Skills
Learning Skills (mq.edu.au/learningskills) provides academic writing resources and study
strategies to improve your marks and take control of your study.
Workshops
StudyWise
Academic Integrity Module for Students
Ask a Learning Adviser
Student Enquiry Service

For all student enquiries, visit Student Connect at ask.mq.edu.au
Equity Support
Students with a disability are encouraged to contact the Disability Service who can provide
appropriate help with any issues that arise during their studies.
IT Help
For help with University computer systems and technology, visit http://www.mq.edu.au/about_us/
offices_and_units/information_technology/help/.
When using the University's IT, you must adhere to the Acceptable Use of IT Resources Policy.
The policy applies to all who connect to the MQ network including students.
Graduate Capabilities
Discipline Specific Knowledge and Skills
Our graduates will take with them the intellectual development, depth and breadth of knowledge,
scholarly understanding, and specific subject content in their chosen fields to make them
competent and confident in their subject or profession. They will be able to demonstrate, where
relevant, professional technical competence and meet professional standards. They will be able
to articulate the structure of knowledge of their discipline, be able to adapt discipline-specific
knowledge to novel situations, and be able to contribute from their discipline to inter-disciplinary
solutions to problems.
This graduate capability is supported by:
Learning outcomes
Assessment tasks
Assessment Task 1
Assessment Task 2
Assessment Task 3
Critical, Analytical and Integrative Thinking

We want our graduates to be capable of reasoning, questioning and analysing, and to integrate
and synthesise learning and knowledge from a range of sources and environments; to be able to
critique constraints, assumptions and limitations; to be able to think independently and
systemically in relation to scholarly activity, in the workplace, and in the world. We want them to
have a level of scientific and information technology literacy.
Learning outcomes
Assessment tasks
Assessment Task 1
Assessment Task 2
Assessment Task 3
Problem Solving and Research Capability

Our graduates should be capable of researching; of analysing, and interpreting and assessing
data and information in various forms; of drawing connections across fields of knowledge; and
they should be able to relate their knowledge to complex situations at work or in the world, in
order to diagnose and solve problems. We want them to have the confidence to take the initiative
in doing so, within an awareness of their own limitations.
Learning outcome
Assessment tasks
Assessment Task 2
Assessment Task 3
Creative and Innovative

Our graduates will also be capable of creative thinking and of creating knowledge. They will be
imaginative and open to experience and capable of innovation at work and in the community. We
want them to be engaged in applying their critical, creative thinking.
Learning outcome
Assessment task
Assessment Task 2
Effective Communication
We want to develop in our students the ability to communicate and convey their views in forms
effective with different audiences. We want our graduates to take with them the capability to
read, listen, question, gather and evaluate information resources in a variety of formats, assess,
write clearly, speak effectively, and to use visual communication and communication
technologies as appropriate.
Learning outcomes
Assessment tasks
Assessment Task 1
Assessment Task 2
Assessment Task 3
Engaged and Ethical Local and Global citizens

As local citizens our graduates will be aware of indigenous perspectives and of the nation's
historical context. They will be engaged with the challenges of contemporary society and with
knowledge and ideas. We want our graduates to have respect for diversity, to be open-minded,
sensitive to others and inclusive, and to be open to other cultures and perspectives: they should
have a level of cultural literacy. Our graduates should be aware of disadvantage and social
justice, and be willing to participate to help create a wiser and better society.
Learning outcome
Assessment tasks
Assessment Task 1
Assessment Task 2
Assessment Task 3
Socially and Environmentally Active and Responsible

We want our graduates to be aware of and have respect for self and others; to be able to work
with others as a leader and a team player; to have a sense of connectedness with others and
country; and to have a sense of mutual obligation. Our graduates should be informed and active
participants in moving society towards sustainability.
Learning outcomes
Assessment tasks
Assessment Task 1
Assessment Task 2
Assessment Task 3
Capable of Professional and Personal Judgement and Initiative

We want our graduates to have emotional intelligence and sound interpersonal skills and to
demonstrate discernment and common sense in their professional and personal judgement.
They will exercise initiative as needed. They will be capable of risk assessment, and be able to
handle ambiguity and complexity, enabling them to be adaptable in diverse and changing
environments.
Learning outcomes
Assessment tasks
Assessment Task 1
Assessment Task 2
Assessment Task 3
Commitment to Continuous Learning

Our graduates will have enquiring minds and a literate curiosity which will lead them to pursue
knowledge for its own sake. They will continue to pursue learning in their careers and as they
participate in the world. They will be capable of reflecting on their experiences and relationships
with others and the environment, learning from them, and growing - personally, professionally
and socially.
Learning outcomes
Assessment tasks
Assessment Task 1
Assessment Task 2
Assessment Task 3

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MMCS303

Music, Sound and Moving Image

Department of Media, Music, Communication and Cultural Studies

Important Academic Dates

Assessment Task 1 30% 29 March 5pm

Assessment Task 2 30% 29 April during tutes

Assessment Task 3 40% 10 June 5pm

Submission is via TURNITIN no hard copy submission.

These are the ONLY scene choices for analysis:

1. A kingdom of night-time pleasures: http://aso.gov.au/titles/features/moulin-rouge/clip1/

2. Satine, the sparkling diamond: http://aso.gov.au/titles/features/moulin-rouge/clip2/

This Assessment Task relates to the following Learning Outcomes:

Groups must choose between the following clips:

This Assessment Task relates to the following Learning Outcomes:

Submission is via TURNITIN no hard copy submission.

Essay question choices:

This Assessment Task relates to the following Learning Outcomes:

Delivery and Resources

Carol Piechota (2006) Give Me a Second Grace: Music as Absolution in The

Robynn J. Stilwell (2013) Audiovisual Space in an Era of Technological Convergence in John

Jeffrey Ruoff (1992) Conventions of Sound in Documentary in Rick Altman (ed.)

Sound Theory, Sound Practice. New York: Routledge, 217234. Online:

Readings for Assessment Task 1:

Policies and Procedures

Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html

New Assessment Policy in effect from Session 2 2016 http://mq.edu.au/policy/docs/

Assessment Policy prior to Session 2 2016 http://mq.edu.au/policy/docs/assessment/policy.html

Grading Policy prior to Session 2 2016 http://mq.edu.au/policy/docs/grading/policy.html

Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html

Complaint Management Procedure for Students and Members of the

Disruption to Studies Policy http://www.mq.edu.au/policy/docs/disruption_studies/policy.html The

Student Code of Conduct

MMCCS website https://www.mq.edu.au/about_us/faculties_and_departments/faculty_of_arts/

MMCCS Session Re-mark Application http://www.mq.edu.au/pubstatic/public/

Information is correct at the time of publication

Student Enquiry Service

This graduate capability is supported by:

Critical, Analytical and Integrative Thinking

This graduate capability is supported by:

Problem Solving and Research Capability

This graduate capability is supported by:

Creative and Innovative

This graduate capability is supported by:

This graduate capability is supported by:

Engaged and Ethical Local and Global citizens

This graduate capability is supported by:

Socially and Environmentally Active and Responsible

This graduate capability is supported by:

Capable of Professional and Personal Judgement and Initiative

This graduate capability is supported by:

Commitment to Continuous Learning

This graduate capability is supported by:

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