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Music, Sound and MultimediaFrom the Live to the Virtual$
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Jamie Sexton

Print publication date: 2007

Print ISBN-13: 9780748625338

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748625338.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 23 September 2021

Case Study: Film Music vs. Video-Game Music: The Case of Silent Hill

Case Study: Film Music vs. Video-Game Music: The Case of Silent Hill

(p.68) 4. Case Study: Film Music vs. Video-Game Music: The Case of Silent Hill
Music, Sound and Multimedia

Zach Whalen

Edinburgh University Press

This chapter investigates some of the similarities and differences between video-game music and film music, using Silent Hill as a case study through which to explore such issues. It uses a ‘unit operations’ approach that theorises video-game music in the context of the gaming environment as it interacts with a number of other codes. Ian Bogost's Unit Operations provides an instructive example for analysing Silent Hill. As this video demonstrates, examining the interaction of musical and programmatic objects within the same system allows for an approach which simultaneously covers the fundamental logic of both. The innovation of Silent Hill is that within its environment, silence expresses the loneliness and exhaustion shared by Harry and the player. It may be attributed that the game's music is more accurately a result of the dissonance that obtains in the configuration of relationships between the player and the game objects.

Keywords:   video-game music, film music, Silent Hill, unit operations, Ian Bogost, silence, Harry, player

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