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Incongruent film music is a soundtrack, either diegetic or nondiegetic, which expresses qualities that stand in contrast to the emotions evoked by the events seen. The present article aims at covering two interconnected areas; the first is comprised of a critical recapitulation of available theoretical accounts of incongruent film music, whilst the second part of the paper offers an alternative, embodied-cognitive explanation of the audio-visual conflict which arises from this particular typedoi:10.2478/ausfm-2014-0022 fatcat:ieihd5htorbilotbtdk5zlk2uq