ゴダール映画におけるメタ映画的音楽 Metafilm Music in Jean-Luc Godard's Cinema (Oxford Music / Media)

ゴダール映画におけるメタ映画的音楽<br>Metafilm Music in Jean-Luc Godard's Cinema (Oxford Music / Media)

個数：

ゴダール映画におけるメタ映画的音楽
Metafilm Music in Jean-Luc Godard's Cinema (Oxford Music / Media)

Baumgartner, Michael

ウェブストア価格 ¥35,559（本体¥32,327）
Oxford University Press Inc（2022/10発売）
外貨定価 UK£ 122.50
ポイント 323pt

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製本 Hardcover:ハードカバー版／ページ数 520 p.
言語 ENG
商品コード 9780190497156
DDC分類 781.54209

Full Description

Hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, Jean-Luc Godard is a prominent pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image, but his achievements in sound have been largely overlooked. Such a lacuna in the extensive research on Godard's work is unfortunate, as Godard's lifelong preoccupation of exploring self-reflexively all aspects of filmmaking particularly affects film music. With the novel approach of metafilm music, extrapolated from Jean-Luc Godard's oeuvre, this book not only closes up a crucial gap in Godard research, but also offers detailed analyses of the music as metafilm music in Contempt, Alphaville, Band of Outsiders, Pierrot le fou, First Name: Carmen, Histoire(s) du cinéma, among other films and video productions. The innovative scholarly concept of metafilm music, enriching the burgeoning field of music in audio-visual media, describes how Godard thinks about film music with film music. This book thus provides a thorough examination of Godard's self-reflexive approach to film music which has resulted in a lifelong creation of multi-layered soundtracks pushing the envelope of film music and sound to the limit.

Introduction: For Ever Metafilm Music

PART I: METAFILM MUSIC, FRAGMENTATION, REPETITION, AND QUOTATION
1. Gapped Music in Godard's 1960s Films: Dissection of the Musical Unity as a Self-Reflexive Exercise
2. Leitmotif Technique Revisited: Indexical Function of Multiply Repeated Musical Fragments in Godard's 1960s Films as Manifestations of Metafilm Music
3. The Undoing of the Leitmotif Technique: Quotation, Fragmentation, and Repetition in Godard's 1960s Films with Beethoven, Schumann, and Pseudo-Bach as Metafilm Music
4. Quoting Popular Songs: Chanson and Canzone as Metafilm Music in Godard's Work

PART II: METAFILM MUSIC AND GENRE REFERENCE
5. Referencing Silent Film Music: Metafilm Music, Mise en Scène, Acting, and Storytelling
6. Referencing Music-Specific Genres and Genre-Specific Music: Metafilm Music, "Cinéma-en-kit" Musical, and Pastiched Film Noir Music
7. Referencing Film Music as a Genre: Metafilm Music, Prototypes of Film Music as Genre Mash-Up, and Melodramatic Commutation

PART III: METAFILM MUSIC, MUSIC MAKING, AND FILMMAKING
8. Music-Making as Metaphor for Filmmaking I: Metafilm Music in One Plus One and Prénom: Carmen
9. Music-Making as Metaphor for Filmmaking II: Metafilm Music in Soigne ta droite (Une place sur la terre)

Conclusion: Two or Three Things I Know about Metafilm Music(s)
Notes Works Cited
Index