This article summarizes the incongruent perspective, a psycho-semiotic approach toward the study of film-music difference that is contextualized by poststructuralist thought. Examples are cited from empirical research conducted alongside the initial theoretical deconstruction to demonstrate the following: how the perspective theorizes various levels of film-music difference, and their impact upon perceiver experience and response; and the ways in which empirical studies can facilitate inter- and multidisciplinary conceptual deconstruction.

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