Overtones and Undertones: Reading Film Music / Edition 1

Overtones and Undertones: Reading Film Music / Edition 1

by Royal S. Brown
     
 

ISBN-10: 0520085442

ISBN-13: 9780520085442

Pub. Date: 10/18/1994

Publisher: University of California Press

Since the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences' fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to "hear" the film score, but…  See more details below

Overview

Since the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences' fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to "hear" the film score, but to understand it in relation to what they "see." Unlike earlier books, which offered historical, technical, and sociopolitical analyses, Overtones and Undertones draws on film, music, and narrative theory to provide the first comprehensive aesthetics of film music. Focusing on how the film/score interaction influences our response to cinematic situations, Brown traces the history of film music from its beginnings, covering both American and European cinema. At the heart of his book are close readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, Double Indemnity, and Pierrot le Fou. In revealing interviews with Bernard Herrmann, Miklós Rósza, Henry Mancini, and others, Brown also allows the composers to speak for themselves. A complete discography and bibliography conclude the volume.

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Product Details

ISBN-13:
9780520085442
Publisher:
University of California Press
Publication date:
10/18/1994
Edition description:
New Edition
Pages:
396
Product dimensions:
6.00(w) x 9.00(h) x 1.00(d)

Table of Contents

Acknowledgments
Introduction1
1Narrative/Film/Music12
2Actions/Interactions: "Classical" Music38
3Actions/Interactions: Historical Overview50
4Actions/Interactions: The Source Beyond the Source67
5Styles and Interactions: Beyond the Diegesis92
Interlude I: Erich Wolfgang Korngold: The Sea Hawk (1940)97
Interlude II: Miklos Rozsa: Double Indemnity (1944)120
Interlude III: The Eisenstein/Prokofiev Phenomenon134
6Herrmann, Hitchcock, and the Music of the Irrational148
7New Styles, New Genres, New Interactions175
Interlude IV: Jean-Luc Godard: Vivre sa vie (1962)188
Interlude V: Jean-Luc Godard: Pierrot le fou (1965)200
8Music as Image as Music: A Postmodern Perspective235
A Brief (Postmodern) Conclusion264
Interviews269
Miklos Rozsa271
David Raksin281
Bernard Herrmann289
Henry Mancini294
Maurice Jarre305
Lalo Schifrin314
John Barry322
Howard Shore334
Appendix: How to Hear a Movie: An Outline343
Notes353
Discography367
Bibliography373
Index379

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