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La Dolce Vita Reviewhoice

Focus on In the Mood for Taxi Driver (1976)
Write about the film itself and a little bit more from you. Try to tie in the details of the movie with your reaction, for example, what scenes in the movie made you react strongly? What features of those scenes caused that reaction?

Sample Solution

relationship is where people make connections based on resemblance. For example, resemblance in music can be recognising it belonging to a genre as it sounds like other songs that you’ve heard before; you can identify rap music through stylised rhythmic tunes. As Turino puts it, “icons can spur imaginative connections of resemblance between the signs perceived and the objects stood for in light of the internal context of the perceiver”. Whether intended by the artist or not; sounds or lyrics in music may resemble other ideas outside of music to the listener. The second type of semiotic relationship is an index. Indexes are signs that point to objects or ideas they represent, this applies to music associated with a concept or occasion. For example, a national anthem at a sporting event becomes an index of patriotism. Indexical responses often happen when listening to music such as when advertisements play a jingle connected to a product, that jingle becomes an index to the product. Semantic snowballing happens when new indices are added to old ones, creating a variety of different meanings. One example is how the Civil Rights Movement used pre-existing tunes that indexed the church and progressive labour movements and set new lyrics about civil rights to these tunes. This combined old associations of religious righteousness with progressive politics, adding historical depth and power. Because indexes link a song with a personal event, indexes tend to be the most personal type of semiotic relationship and often evoke the most emotional and powerful responses. The third sign is the symbol: language is a system of symbols, wherein each word or phrase has a definite and consistent meaning, albeit often contextually defined. Words are usually shortcuts for something else; the word “sad” represents an emotional state. Language is essential for describing and analysing music, but as ethnomusicologist Thomas Turino explains, such symbols “fall short in the realm of feeling and experience”. Therefore, symbols are secondary or after-the-fact, and may distract from the intimacy and immediacy of the musical experience. It is important to distinguish symbols from symbolism, which is often more metaphorical and more related to icons or indexical responses. Icons, indexes and symbols help us to understand how music effects people and groups in meaningful ways. Throughout history politicians have understood and have effectively used the iconic and indexical power of music to further their own pragmatic needs. For example, the Nazis used music for their own malicious purposes and political movements. The Nazis used a series of rituals and non – verbal signs like the swastika and the Hitler salute to bind the
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