Special: The Music of Chernobyl (2019)

Does Hildur Guðnadóttir’s use of actual recorded nuclear powerplant sounds contribute to or enhance the authenticity of the audiences’ viewing experience? Was recording audio from an existing nuclear powerplant for this soundtrack worth the effort? Is the music real for the characters on-screen? Can music be a character in film or TV?

Chernobyl is a masterclass of storytelling through music. It challenges the idea that music is a supportive element to visual media. Guðnadóttir has created a monstrous and dreadful score that rivals the greatest villains in film and TV history.

A special podcast episode made for "Music, Film, & Video Games" (Fall 2022) course taught by Lena Leson.