Changing Tunes: The Use of Pre-Existing Music in Filmby Robynn Stilwell
Pub. Date: 01/01/2006
Publisher: Taylor & Francis
The study of pre-existing film music is now a well-established part of Film Studies, covering 'classical' music and popular music. Generally, these broad musical types are studied in isolation. This anthology brings them together in twelve focused case studies by a range of scholars, including Claudia Gorbman, Jeongwon Joe, Raymond Knapp, and Timothy Warner. The first section explores art music, both instrumental and operatic; it revolves around the debate on the relation between the aural and visual tracks, and whether pre-existing music has an integrative function or not. The second section is devoted to popular music in film, and shows how very similar the functions of popular music in film are to the supposedly more 'elite' classical music and opera. Case studies in part 1: Eyes Wide Shut, Raging Bull, Brief Encounter, Détective, The Godfather Part III, three versions of the Carmen story (DeMille's, Preminger's and Rosi's), Amadeus, The Birth of a Nation, M: Eine Stadt sucht einen MÃ¶rder, Needful Things, Rat Race. Case studies in part 2: various films by AlmodÃ³var, Young Frankenstein, Pulp Fiction, Trainspotting, Amélie, High Fidelity, Ghost World, Heavenly Creatures, The Virgin Suicides, and the video Timber by Coldcut.
Table of ContentsContents: Introduction. Part I Pre-existing Classical Film Scores: Ears wide open: Kubrick's music, Claudia Gorbman; Classical music, ambiguity and film, Mike Cormack; The Godfather Part III: film, opera and the generation of meaning, Lars Franke; High and low culture: Bizet's Carmen and the cinema, Ann Davies; Reconsidering Amadeus: Mozart as film music, Jeongwon Joe; The troll amongst us, Kristi A. Brown. Part II Popular Music and Film: Queer pleasures: the bolero, camp and AlmodÃ³var, Vanessa Knights; Music, electricity, and the 'sweet mystery of life' in Young Frankenstein, Raymond Knapp; Popular song as leitmotiv in Pulp Fiction and Trainspotting, Ronald Rodman; The fabulous destiny of the accordion in French cinema, Phil Powrie; Vinyl communion: the record as ritual object in girls' rites-of-passage films, Robynn Stilwell; Narrating sound: the pop video in the age of the sampler, Timothy Warner. Filmography; Bibliography; Index.
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