Film Music
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Film Music : Critical Approaches

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Description

For something we often barely notice music in films is usually highly effective. It creates tension, elicits emotion and is undoubtedly one of the most important aspects of the cinematic experience. Upon closer inspection, it can be seen that film music is highly complex and artful, not only having immediate emotional impact but also comprising some of the most outstanding music produced in the twentieth century. Bringing together some of the most influential international scholars on the subject, this anthology provides a detailed, diverse and accessible perspective on music in the cinema. As well as chapters on the techniques and views of film music and on film music scholarship, the book embraces topics as diverse as Bernard Herrmann's music for Welles's Citizen Kane, the use of discs to accompany silent films and gender and the cinematic soundscape. Key Features *An original collection of essays on film music in the twentieth century *The Introduction provides a historical perspective on the art of film music *Brings together a wide range of approaches to film musicshow more

Product details

  • Paperback | 224 pages
  • 156 x 234 x 23mm | 345g
  • EDINBURGH UNIVERSITY PRESS
  • Edinburgh, United Kingdom
  • music
  • 0748612882
  • 9780748612888
  • 1,075,541

Table of contents

Contents; Introduction; Chapter One:; The Hidden Heritage of Film Music: History and Scholarship; K. J. Donnelly; Chapter Two:; Analytical and Interpretive Approaches to Film Music (I): Analysing the Music; David Neumeyer and James Buhler; Chapter Three:; Analytical and Interpretive Approaches to Film Music (II): Analysing Interactions of Music and Film; James Buhler; Chapter Four:; 'In the Mix': How Electrical Producers Facilitated the Transition to Sound in British Cinemas; Michael Allen; Chapter Five:; King Kong and Film on Music (Out of the Fog); Peter Franklin; Chapter Six:; The Dies Irae in Citizen Kane: Musical Hermeneutics Applied to Film Music; William H. Rosar; Chapter Seven:; The Documentary Film Scores of Gail Kubik; Alfred W. Cochran; Chapter Eight:; Embracing Kitsch: Werner Schroeter, Music and The Bomber Pilot; Caryl Flinn; Chapter Nine:; Performance and the Composite Film Score; K.J. Donnelly;; Chapter Ten:; Sound and Empathy: Subjectivity, Gender and the Cinematic Soundscape; Robynn J. Stilwell; Chapter Eleven:; 'Would You like to Hear Some Music?' Music in-and-out-of-control in the Films of Quentin Tarantino; Ken Garner; Contributors.show more

About K. J. Donnelly

Kevin J. Donnelly is Reader in Film at the University of Southamptonshow more

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