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BeschreibungMusic is one of the central components of a film, arguably as significant as the visual and narrative components, yet few scholars have examined the importance of music in film or constructed a film theory that includes music. Hearing Film offers the first critical examination of music in contemporary films, paying close attention to the role of newly composed scores versus compiled soundtracks and how they condition different kinds of identification processes.Anahid Kassabian describes and analyzes the differing functions of compiled and composed scores in such films as Dangerous Liaisons, Bagdad Cafe, Dirty Dancing, Thelma and Louise, Lethal Weapon 2, Indiana Jones and the Temple of Doom, Dangerous Minds, and Mississippi Masala. Drawing on issues in film, musicology, popular music studies, media studies, cultural studies, and feminist theory, this interdisciplinary study will influence all future analyses of film music and change the way filmgoers hear and perceive music in film.
InhaltsverzeichnisAcknowledgements Listening for identifications: A Prologue 1.How film music works 2.How music works in film 3.A woman scored 4.At the twilight's last scoring 5.Opening scores Tracking identifications: An Epilogue Appendices Works Cited Videos Cited Endnotes
PortraitAnahid Kassabian is Director of Postgraduate Research in the School of Music at the University of Liverpool, James and Constance Alsop Chair, and Editor of Music, Sound, and the Moving Image. She coedited the book Keeping Score: Music, Disciplinarity, Culture (1997) and has written numerous articles and book chapters on popular music, film music and feminist theory.
Pressestimmen'Refreshing in dealing with films of the 1980s and 1990s. It is also relatively rare to find film music books that seriously explore scores that rely to a large extent on popular music tracks. Hearing Film is a useful volume.' - Senses of Cinema 'No longer an esoteric domain limited to a few specialists, the world of film sound tracks has finally come into its own, thanks to books like Anahid Kassabian's Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Turning her attention from the (traditional, male, European) realm of classical Hollywood composers to the (contemporary, female, American) sphere of music supervisors and compiled scores, Kassabian brilliantly shows how contemporary film music anchors a gendered identification process. Hearing Film is not just first-rate scholarship, it's exciting reading!' - Rick Altman, University of Iowa Professor of Cinema and Comparative Literature
Untertitel: New. Sprache: Englisch.
Verlag: ROUTLEDGE CHAPMAN HALL
Erscheinungsdatum: Januar 2001
Seitenanzahl: 208 Seiten