基本説明
This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to image in shaping the experience of film.
Full Description
This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to the image in shaping the experience of film. Refuting the familiar idea that music serves as an unnoticed prop for narrative, these essays demonstrate that music is a fully imagined and active power in the worlds of film. Even where films do give it a supporting role--and many do much more--music makes an independent contribution. Drawing on recent advances in musicology and cinema studies, Beyond the Soundtrack interprets the cinematic representation of music with unprecedented richness. The authors cover a broad range of narrative films, from the "silent" era (not so silent) to the present. Once we think beyond the soundtrack, this volume shows, there is no unheard music in cinema.
Contents
List of Illustrations Introduction: Phonoplay: Recasting Film Music PART I. MUSICAL MEANING 1. The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the "Symphonic Score" Peter Franklin 2. Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica Nicholas Cook 3. Minima Romantica Susan McClary 4. Melodic Trains: Music in Polanksi's The Pianist Lawrence Kramer 5. Mute Music: Polanski's The Pianist and Campion's The Piano Michel Chion PART II. MUSICAL AGENCY 6. Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo Richard Leppert 7. Sight, Sound, and the Temporality of Myth Making in Koyaanisqatsi Mitchell Morris 8. How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain Philip Brophy 9. Auteur Music Claudia Gorbman 10. Transport and Transportation in Audiovisual Memory Berthold Hoeckner 11. The Fantastical Gap between Diegetic and Nondiegetic Robynn J. Stilwell PART III. MUSICAL IDENTITY 12. Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital Rick Altman 13. Before Willie: Reconsidering Music and the Animated Cartoon of the 1920s Daniel Goldmark 14. Side by Side: Nino Rota, Music, and Film Richard Dyer 15. White Face, Black Noise: Miles Davis and the Soundtrack Krin Gabbard 16. Men at the Keyboard: Liminal Spaces and the Heterotopian Function of Music Gary C. Thomas Notes on Contributors Index of Films Cited Works Cited General Index
