Sanna Qvick

University of Turku, Faculty of Humanities/School of History, Culture and Arts Studies, Doctoral Student (PhD)

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MA Sanna Qvick (sanqvi@utu.fi) is preparing her musicological dissertation to University of Turku. Her research project deals with the narrative strategies of soundtracks in Finnish fairytale films for children.
Address: Turku, Western Finland, Finland

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Papers by Sanna Qvick

Book chapter: Labirinto, a Magia do Tempo (Labyrinth, 1986) Perspectiva narrativa das canções

978-6-50-017550-9, 2021

A book chapter in "David Bowie: o homem que caiu na tela"

Sensing Time and Space through the Soundtracks of Interstellar and Arrival

by Anna-Elena Pääkkölä and Sanna Qvick

The Oxford Handbook of Cinematic Listening, 2021

This chapter discusses the recent science fiction films Interstellar (2014; music by Hans Zimmer)... more This chapter discusses the recent science fiction films Interstellar (2014; music by Hans Zimmer) and Arrival (2016; music by Jóhann Jóhannsson) as benchmarks for new ways of configuring the listening body in time and space. These films are characterized by soundtracks that emphasize visceral as much as audiovisual involvement. Both draw on influences from postminimalism and electronic music with historical allusion to produce sonic end results that convey a texturally rich but semantically impervious sense of the otherworldly. Our analyses draw on theories of multisensory cinema to explain how the soundtracks create experiences of altered time and space. While evoking a sense of monumentalism reminiscent of tropes of the sublime, the music of these films communicates also optimism about futures where conflict and ecological shortsightedness give way to something more intuitive and all encompassing.

Peer-viewed article: Ailo – Pienen poron suuri seikkailu -elokuvan ääniraita katsojan luontosuhteen luojana

Etnomusikologian vuosikirja, 2022

Tämä tutkimusartikkeli tarkastelee ranskalaisen ohjaajan Guillaume Maidatchevskyn Ailo – Pienen p... more Tämä tutkimusartikkeli tarkastelee ranskalaisen ohjaajan Guillaume Maidatchevskyn Ailo – Pienen poron suuri seikkailu (Aïlo: Une odyssée en Laponie, Ranska 2018) luontodokumenttia ekomusikologisesta ja audiovisuaalisesta näkökulmasta.

Teoksellaan Maidatchevsky kertoo Ailon tarinan, poronvasan ensimmäisen vuoden Lapin maisemissa. Tarinallisena ja perheille suunnattuna luontoelokuvana Ailo tutustuttaa katsojat niin Lapin luontoon kuin sen eläimiin. Artikkelissa hyödynnän tarinallistamisen ja luontosuhteen käsitteitä sekä ekomusikologista näkökulmaa. Metodina sovellan kriittiseen lähiluentaan pohjautuvaa audiovisuaalista analyysia itse elokuvan analyysissa. Etsin vastauksia muun muassa siihen, millaisen luontosuhteen Ailo-elokuvan äänimaailma saa aikaan.

Ailo:n äänimaailma on hyvin selkeä. Sen eri osa-alueet (äänitehosteet, taustakerronta ja musiikki) ovat eriytyneitä, ja niillä on elokuvassa tietty rooli. Nämä roolit saavat aikaan tietynlaisen keinotekoisuuden, joka on ristiriidassa kuvaraidan autenttisuuspyrkimyksiin.

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Review: Totta vai tarua? Lastenelokuvien elämysmaailma

Nuorisotutkimus, 2020

Editorial: Wall-E:sta Ginny Weasleyyn: populaarikulttuuri, lapsuus ja nuoruus 2000-luvulla

Nuorisotutkimus, 2020

Populaarikulttuuri-teemanumero käsittelee laajemmin muun muassa lasten ja nuorten tuottamaa ja/ta... more

Peer-reviewed article: 2000-luvun suomalaisten satuelokuvien musiikillinen kerronta ja yhteiskunnalliset teemat: esimerkkinä elokuva Pelikaanimies.

Musiikki, 2016

The number of fairytale films for children has increased noticeably in Finland since the dawn of ... more The number of fairytale films for children has increased noticeably in Finland since the dawn of the twenty-first century. It is thus fair to say that such films have become a prominent area in children’s audiovisual culture, and furthermore that these films represent a significant socio-cultural force in today’s society. This is true not only because of their growing numbers, but also because of recent changes in their themes: the films cover subjects from children’s everyday lives (e.g. friendship, parents’ divorce or other family issues) to wider social questions in the surrounding society and the world (e.g. refugees, otherness, climate change, environmental crises). These changes have also had an impact on the soundtracks of fairytale films. The films are characterised by a comprehensive sound design that uses film music like sound effects and sound effects like music and draws freely on the various traditions of film music practices as well as from various musical genres. In this article I present an overview of the narrative strategies in the music for Finnish fairytale films since 2000, and discuss the socio-cultural themes of the films, in particular, how the themes can be heard in the soundtracks. As an example of the socio-culturally critical children’s fairytale films, the soundtrack of Pelikaanimies (in English Pelicanman, dir. 2004 by Liisa Helminen) is analysed in some detail.

Peer-reviewed article: Moniaistillinen nostalgian ja kotiväkivallan kuvaus Tumman veden päällä –elokuvan musiikissa ja äänimaisemassa

by Sanna Qvick, Anna-Elena Pääkkölä, and Sini Mononen

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Peer-reviewed article: Goblin King in Labyrinth: An audio-visual close reading of the songs by David Bowie

Widerscreen.fi / ISSN 1795-6161, Dec 15, 2016

This article comments on the dual role of David Bowie in the film Labyrinth (1986) as actor and s... more This article comments on the dual role of David Bowie in the film Labyrinth (1986) as actor and singer, in addition to Bowie’s star persona, puppets as a means of alienation, and the narrative world of Labyrinth in the realm of fantasy and fairy tale. However, the main focus of the article is on the role the songs play in the film’s narrative. In musicals, songs usually interrupt the narration, or narrative progression of the film, while expanding on emotional content or depiction. In Labyrinth, the sections of dance and song are not regarded as separate by the characters within the narration, although they might appear separate to the viewer. The film Labyrinth takes a different approach to the musical tradition, because it intertwines narration and songs. Labyrinth breaks away from the dual-focus mold of American film musicals (Altman 1987), as only the man in the main character pair sings. It utilises the traits of musical, but is it a musical? I aim to determine this by reviewing the genre of the film and analysing the roles and the meanings of the songs using audio-visual analysis and close reading (see Bal 2002; Richardson 2012).