뉴아메리칸 씨네마의 음악에 나타난 새로운 양상들: <졸업>의 사운드트랙을 중심으로

Abstract

One of the typical features in the New American Cinema can be found in the creative use of soundtracks as foregrounding the visual delineation of film narrative. For the first time in the history of Hollywood cinema, the pop-music soundtracks in The Graduate (1967) were fully employed for the benefit of formal and thematic reconceptualization of American cinema. For example, “The Sound of Silence,” as it is performed in the beginning, in the interlude (during the secret love affair between Ben and Mrs. Robinson), and at the end of the film, fosters and promulgates the soundtrack as musical soliloquy. It leads to the extra-diegetic effect of internal monologue which goes in parallel with Ben’s silent action on the screen, evoking what Gilles Deleuze and Jean-Luc Godard called son-image (sound-image). This prominent feature of music in The Graduate makes the role of music drastically different from its constant subordination to the visual image. And it elevates the soundtrack as an independent layer of filmic device, initiating the filmic theme over its visual representation.

One of the typical features in the New American Cinema can be found in the creative use of soundtracks as foregrounding the visual delineation of film narrative. For the first time in the history of Hollywood cinema, the pop-music soundtracks in The Graduate (1967) were fully employed for the benefit of formal and thematic reconceptualization of American cinema. For example, “The Sound of Silence,” as it is performed in the beginning, in the interlude (during the secret love affair between Ben and Mrs. Robinson), and at the end of the film, fosters and promulgates the soundtrack as musical soliloquy. It leads to the extra-diegetic effect of internal monologue which goes in parallel with Ben’s silent action on the screen, evoking what Gilles Deleuze and Jean-Luc Godard called son-image (sound-image). This prominent feature of music in The Graduate makes the role of music drastically different from its constant subordination to the visual image. And it elevates the soundtrack as an independent layer of filmic device, initiating the filmic theme over its visual representation.