The Celtic Tiger ‘Unplugged’: DV realism, liveness, and sonic authenticity in Once (2007)

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Abstract

Once (2007) is described by its director Carney as ‘a modern day musical’, eschewing the elaborately staged set-pieces associated with the film musical genre in favour of a more intimate style in which the songs arise ‘naturalistically’. Depicting the friendship between two musicians towards the end of ‘Celtic Tiger’-era Dublin, the film won critical acclaim and commercial success worldwide, confounding expectations of such a low-budget feature, shot cheaply on digital video. The commercial success of Once exemplifies the ‘rags-to-riches’ heroics of shoestring feature production in the millennial digital era. Yet the narrative of Once is paradoxically uneasy with digital technology and instead articulates what Philip Auslander (and others) term ‘rock authenticity’, fetishizing the ‘live’, the ‘lo-fi’ and the ‘acoustic’ in music. The overall approach to the sound of the film aspires towards ‘liveness’, as the use of location sound recording for the song sequences provides a particular textural quality that incorporates background noise and environmental reverberation, or ‘materializing sound indices’. This article uses analysis of the construction of sound space and sound-image relations in Once to demonstrate how this formal approach works with the narrative to communicate texturally a particular notion of ‘authenticity’ and ‘liveness’ of the film. This will be supplemented with analysis of discourses of authenticity used in the film’s publicity.
Original languageEnglish
Pages (from-to)25-38
JournalThe Soundtrack
Volume7
Issue number1
DOIs
Publication statusE-pub ahead of print - 1 Apr 2014

Fingerprint

Liveness
Realism
Authenticity
Sound
Song
Rock
Publicity
Music
Acoustics
Friendship
Sound Recording
Musical Genre
Musicians
Discourse
Critical Acclaim
Digital Video
Rag
Digital Technology
Dublin
Reverberation

Keywords

  • Ireland
  • digital video
  • indie
  • liveness
  • musicals

Cite this

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abstract = "Once (2007) is described by its director Carney as ‘a modern day musical’, eschewing the elaborately staged set-pieces associated with the film musical genre in favour of a more intimate style in which the songs arise ‘naturalistically’. Depicting the friendship between two musicians towards the end of ‘Celtic Tiger’-era Dublin, the film won critical acclaim and commercial success worldwide, confounding expectations of such a low-budget feature, shot cheaply on digital video. The commercial success of Once exemplifies the ‘rags-to-riches’ heroics of shoestring feature production in the millennial digital era. Yet the narrative of Once is paradoxically uneasy with digital technology and instead articulates what Philip Auslander (and others) term ‘rock authenticity’, fetishizing the ‘live’, the ‘lo-fi’ and the ‘acoustic’ in music. The overall approach to the sound of the film aspires towards ‘liveness’, as the use of location sound recording for the song sequences provides a particular textural quality that incorporates background noise and environmental reverberation, or ‘materializing sound indices’. This article uses analysis of the construction of sound space and sound-image relations in Once to demonstrate how this formal approach works with the narrative to communicate texturally a particular notion of ‘authenticity’ and ‘liveness’ of the film. This will be supplemented with analysis of discourses of authenticity used in the film’s publicity.",
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The Celtic Tiger ‘Unplugged’: DV realism, liveness, and sonic authenticity in Once (2007). / Johnston, Nessa.

In: The Soundtrack, Vol. 7, No. 1, 01.04.2014, p. 25-38.

Research output: Contribution to journalArticle

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