The reception of cinema and music in author, text, audience ternary

Cinema and music are two branches of art that prompt the human beings to affection and reasoning. In the process in which sounds are brought together into a composition, the concept of music brings harmony, rhythm and time together and creates a narration. In this respect, it is similar to the art of cinema, which brings moving images together in order to create a narration. When the association between cinema and music is observed from a historical perspective, it can be stated that these two art forms are inseparable from each other. The reception of a music in a movie has always been an interesting topic. British-American filmmaker Christopher Nolan presents his audience an audio-visual worlds with his films. The subject of the study is the question of how music is received in Nolan films. In this context, as part of the study, Christopher Nolan's Memento, Inception and Dunkirk films were received by the cinephiles and produced a new text. The necessity of a process of creation in collaboration brings to mind that cinema is a unique art. Cinema, like every branch of art, focuses on narratives. It can be stated that everything that we see and hear in the cinema which presents an audio-visual world has a meaning. Therefore, the subject of this research is how the music is received in Christopher Nolan films. In the study, the problem of how the music is acquired in Christopher Nolan films is evaluated by leaning against a constructive ontology and phenomenological methodology. The theoretical framework of the study is based on the Reception Theory. The Reception Theory exhibits a reader-side attitude to achieve the meaning of the text. In this interaction-based process, each reading of the text refers to the reproduction of the text, and each reader interprets the text in relation to his or her background, experience and language skills. Undoubtedly, since these elements are different for each audience and the viewers will experience reception. This study aims to evaluate the place and mystery of music in these different interpretations in the cinema narrative. The research takes its reference from Christopher Nolan's cinema. Memento, Inception and Dunkirk texts from the director's filmography were selected for the research; How these films were received and how the music was included in the process of meaningful interpretation of the film were evaluated with the perspective of the participants. Accordingly, in the context of the study, a research which includes the reception of Christopher Nolan's Memento, Inception and Dunkirk films by the participants is designed and participants were asked to produce a new text based on semi-structured questions about these texts in order to encourage making sense of the text in the creative process. At the end of the research, it has been reached the conclusion that since every participant participating in the research process has different experiences and knowledge, each one of them has different ways of receiving the meaning by means of music in the films. As a writer, the author-audience rewrites the meaning of the film and does so through music.