The article addresses the subject of coexistence of music and image in a movie with particular emphasis on science fiction aesthetics. It points out the important form-generating role of music in the visions of the future created within this genre. The key issue here is the use of electronic music, considered to be the most adequate for illustrating futuristic worlds. Based on the research of musicologists, the most representative examples of a combination of electronic and avant-garde music with a picture in science fiction cinema are chronologically discussed. The starting point for these considerations is the characteristic universe and ambient sounds of Blade Runner. However, the analysis focuses mainly on the music from the sequel, Blade Runner 2049, in which the style initiated by Vangelis is continued by Hans Zimmer and Benjamin Wallfisch. The main part of the article is a discussion of non-diegetic and diegetic music in Blade Runner 2049. It emphasizes its unique correlation with the visual layer of the film and an its important role in shaping the Bladerunner’s world. This example raises a broader subject of the importance of electronic music for future-oriented science fiction movies.
Bartkowiak Mathew J., Introduction, w: Sounds of the Future: Essays on Music in Science Fiction Film, red. Mathew J. Bartkowiak, Jeferson: McFarland 2010, ss. 1–7.
Deleon Cara Marisa, A Familiar Sound in a New Place: The Use of the Musical Score Within the Science Fiction Film, w: Sounds of the Future: Essays on Music in Science Fiction Film, red. Mathew J. Bartkowiak, Jeferson: McFarland 2010, ss. 10–21.
Camilla Eyre, Joanna McIntyre, Traversing National Borders, Transcending Cinematic Borders: The Sojourner Cinema of Denis Villeneuve, „Trespassing Borders” 2018, nr 7, ss. 33–48, online: http://trespassingjournal.org/Issue7/TPJ_I7_C-Eyre-J-McIntyre_Article.pdf [dostęp: 15.07.2019].
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