In awe of scores and roars: Audience phenomenological fragmentation between screen and soundtrack

Research output: Contribution to journalArticlepeer-review


Addressing audiences’ enthrallment with film soundtracks that complicate existing notions of cinema immersion, this article offers the original concept of phenomenological fragmentation. To do so, the article considers soundtracks as mnemonic devices and affective textual components that shape audiences’ identities. Additionally, whilst multiplex viewing theatres and technologies endeavour to disembody audio media production and shroud crowds in darkness, the article explores alternative cinematic environments that support phenomenological fragmentation. This is then applied to concert movies as a particular form of event-based experiential cinema where screenings are accompanied with an orchestra that play the soundtrack live. The article then focuses on Jurassic Park ‘Live in Concert’ as a case study of this. Thirteen concert attendees were interviewed, evidencing myriad instances of phenomenological immersion and fragmentation that are shaped by autobiographical histories with the film and the novel exhibition context. Resultantly, the research provides the much-needed empirical audience data to film music studies and expands the study of experiential cinema.
Original languageEnglish
Article number00021_1
Pages (from-to)51-67
Number of pages16
JournalThe Soundtrack
Issue number1
Publication statusPublished - 26 Jun 2023


  • film scores
  • John Williams
  • sound emotion
  • Fandom
  • film audiences
  • reception
  • Jurassic Park
  • audience memory


Dive into the research topics of 'In awe of scores and roars: Audience phenomenological fragmentation between screen and soundtrack'. Together they form a unique fingerprint.

Cite this