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Full Description
Val Lewton's horror films revolutionized a popular genre through a much-studied and still widely emulated visual style emphasizing shadows and absences. By denying audiences visual confirmation of horror, his reforms placed a fresh burden on the soundtrack of his films. This book offers a fine-grained study of the Lewton unit's transformational sonic style which introduced the first "jump scare," liberal use of pre-musique concrète, and an original orchestral score for every film in the series in violation of "B" movie norms. Their orchestral scores often exceed the conventions of film music as we hear the RKO Music Department ignoring instructions thus freeing their contributions to signpost the path toward each films' essential themes.
Contents
Introduction
"Happy Mood Over This, Roy": Webb's Score for Cat People as Film Analysis
Fractured Reasons and Fractured Reason in I Walked with a Zombie
The Leopard Man as Penitential Horror Film
Searching for Meaning in The Seventh Victim
A Wartime Fable in the Sounds of The Ghost Ship
Music for Amy and Her Friend: Webb's Score for The Curse of the Cat People
Boris Karloff and the Soundtrack of The Body Snatcher
Validating Uncertainty on the Isle of the Dead
"Dainty Little Notes, Ain't They?": Roy Webb's Age of Reason in Bedlam
A Closing Argument
