Music 286R Listening, Creativity, and ImaginationMain MenuAbstract - Jenny WangPsychology of Horror RadioAbstract: Referentiality and Temporality in Netflix’s Dark (2017)Abstract: reunderstanding the wandering minda guided meditationAudio Clip for AbstractAn Intro into Horror Radio Project"Derision"Final Project — Ryen Bani-HashemiListening, Creativity, and ImaginationProjects from Music 286RMind the Gap - Project AbstractMind The GapA sound story listening to the idea of refugees in BritainRyen Bani-Hashemi, Untitled Project AbstractSonic Referentiality and Temporality in Netflix’s Dark (2017)The introductory paragraphs to the full paperThe Psychology of Horror RadioA meta audio drama examining the chill-inducing features of horror radioThe Psychology of Horror RadioA meta look at the golden age of radio and what its horrific themes tell us about relationships & identityInvitations (GP Rose)Abstract - Michiko TheurerTELLYvette Janine Jackson030235ad1ed9f19506f8e5f4e9cbe7d51f5dd7ab
12021-11-11T10:44:46-05:00Haley Heinricksa15cab0a4aa2615db59e782777cd8d5783b7a6281691Jonas discovers a map of the Winden Caves made by his father. Screenshot by author.plain2021-11-11T10:44:46-05:00Haley Heinricksa15cab0a4aa2615db59e782777cd8d5783b7a628
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12022-05-03T09:19:05-04:00Abstract: Referentiality and Temporality in Netflix’s Dark (2017)1plain2022-05-03T09:19:05-04:00Dark (2017) is a German-language science-fiction thriller in which the disappearance of a child sparks a series of events that reveals the intricacies and mysteries of four families. Taking place in the fictional German town of Winden, the series follows Jonas Kahnwald and others as they grapple with current events and what those events reveal about their lives. A central element of the series is time-travel, with events unfolding in 2019, 1986, 1953, among others. As such, the musical score and sound design play a two-fold role in the series: they help the viewer distinguish between the different years while simultaneously unifying the viewing experience across long spans of diegetic time. This project considers three aspects of the musical score and sound design in the first season of Dark. The first of these is the role of unseen sound. In many cases, this sound is diegetic; for instance, the Winden Caves are a hotspot for unexplained noises. However, both diegetic and non-diegetic voiceover and narration are also prominent throughout. The second aspect is that of aural wayfinding and musical topics. This section focuses on small-scale musical and sonic aspects that help a viewer distinguish between scenes taking place in different years, and also establishes a set of musical topics that function within the series as checkpoints for the viewer. The third and final aspect reads the large-scale sonic elements of the series as one element of the web of symbols present throughout. From relatively obviously placed visual imagery to more obscure allusions that rely on a viewer’s prior knowledge of religion and mythology, Dark is saturated with both internal and external references. In this section, I argue that music and sound are pieces of a larger puzzle that might help the viewer piece together what’s really going on in Winden.