ABSTRACT
This study aims to unravel the role of the soundtrack in selected Manuel Conde’s extant films from 1941–1958. I posit that soundtrack is a suite of interrelated, cohesive aural cues that act as a narrator in his cinema which also serves as a repository of meanings, consciously or subconsciously coded. Every movement or cue of the suite is deemed important to be decoded in order to understand the interconnection between music and images in part and as a whole. Semiotic analysis was utilized in deciphering the meanings of the sound-image relationship. Through semiotic analysis, the codification of music as “text” in historical, cultural, and sociological contexts is understood. Jerrold Levinson’s notions of “narrator” or “presenter" of the film’s plot and of the overall “inventor” or implied filmmaker of the “narrated” diegesis are essential in this dissertation. The concept of the Filipino word for picture, “larawan,” was also used to frame the act of narrating the diegeses of films. It encompasses both the moving image and sound. In addition, the moving images and music track reflect various social values that needed attention at the time of the creation of the selected films. Revisiting of the social values presented in the films is essential to understand the dynamics of the current.
KEYWORDS
N/A
CITATION
Macazo, C. L. (2026). Music and image: The soundtrack of Manuel Conde's extant films,
1941–1958. GET International Research Journal, 4(3), 111–1060.
https://doi.org/10.5281/zenodo.22053715
https://doi.org/10.5281/zenodo.22053715
