Music, authorship, narration, and art cinema in Europe: 1940s to 1980s
Gespeichert in:
| Weitere beteiligte Personen: | , |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
New York ; London
Routledge
2023
|
| Schriftenreihe: | Music and sound on the international screen
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034104411&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Abstract: | "Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation. Through analyses of music and sound in a wide range of iconic films from across Europe, the essays in this book provide a nuanced reconsideration of three core themes: auteur theory, art house film, and national cinema. Chapters written by an international array of contributors focus on case studies of music in the cinema of Carlos Saura, Jean-Pierre Melville, the Polish School, and Romanian cinema of the New Wave, as well as collaborations between directors and composers, including Michelangelo Antonioni and Giovanni Fusco, Federico Fellini and Nino Rota, Leo Arnshtam and Dmitry Shostakovich, and Peter Greenaway and Michael Nyman. The contributors shift the emphasis from a director-centered view to the working relationship between director and composer, and from the visual component to the sonic aspects of these films, without ignoring the close correlation between soundtrack and visual elements. Enriching our understanding of the complex nature of authorship in film, the role of film music, and European cinematic history, this volume offers a valuable addition to research across music and film studies"-- |
| Umfang: | xi, 237 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781138238039 9781032399089 |
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| 505 | 8 | |a Introduction / Michael Baumgartner -- PART I. Cinematic Collaborations and the Questioning of the Auteur Style Through Music. Music as a Sonic Enabler : Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles / Laura Anderson ; Palimpsest, Mediation, Déjà entendu-Effect : The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita / Emilio Sala ; Michael Nyman and the Development of an Art House Musical Aesthetic / Pwyll ap Siôn -- PART II. Music and Narration : The Meaning Beyond the Text. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine / Joan Titus ; Michelangelo Antonioni's Il grido : Its Music and the Pain of Living / Roberto Calabretto -- PART III. Music as Cinematic Metaphor in a Repressed Political System. A Taste of Freedom Behind Closed Doors : Romanian Film Music before the Fall of Communism, 1955-85 / Dominique Nasta ; Echoes of Catastrophe : Music in Films of The Polish School / Iwona Sowińska ; The Soundtrack of the Uncanny : Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975) / Karen Poe Lang | |
| 520 | 3 | |a "Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation. Through analyses of music and sound in a wide range of iconic films from across Europe, the essays in this book provide a nuanced reconsideration of three core themes: auteur theory, art house film, and national cinema. Chapters written by an international array of contributors focus on case studies of music in the cinema of Carlos Saura, Jean-Pierre Melville, the Polish School, and Romanian cinema of the New Wave, as well as collaborations between directors and composers, including Michelangelo Antonioni and Giovanni Fusco, Federico Fellini and Nino Rota, Leo Arnshtam and Dmitry Shostakovich, and Peter Greenaway and Michael Nyman. The contributors shift the emphasis from a director-centered view to the working relationship between director and composer, and from the visual component to the sonic aspects of these films, without ignoring the close correlation between soundtrack and visual elements. Enriching our understanding of the complex nature of authorship in film, the role of film music, and European cinematic history, this volume offers a valuable addition to research across music and film studies"-- | |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents Contributors ix Introduction 1 MICHAEL BAUMGARTNER PARTI Cinematic Collaborations and the Réévaluation of the Auteur Style with Music 1 Music as a Sonic Enabler: Jean-Pierre Melville’s Film Adaptation of Jean Cocteau’s Les enfants terribles 31 33 LAURA ANDERSON 2 Palimpsest, Mediation, Déjà entendu-Efiect: The Musical Dramaturgy of Federico Fellini and Nino Rota’s La doke vita 51 EMILIO SALA 3 Michael Nyman and the Development of an Art House Musical Aesthetic 87 PWYLLAPSIÔN PARTII Music and Narration: The Meaning beyond the Text 4 Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine · JOAN TITUS 113 115
viii Contents 5 Michelangelo Antonioni’s II grido, Its Music, and the Pain of Living 135 ROBERTO CALABRETTO PART III Music as Cinematic Metaphor in a Repressed Political System 6 A Taste of Freedom behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85 163 165 DOMINIQUE NASTA 7 Echoes of Catastrophe: Music in Films of the Polish School 187 IWONA SOWIŃSKA 8 The Soundtrack of the “Uncanny”: Music and Repetition in Carlos Saura’s Ana y los lobos and Cría cuervos 203 KAREN POE LANG Index 228
|
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| contents | Introduction / Michael Baumgartner -- PART I. Cinematic Collaborations and the Questioning of the Auteur Style Through Music. Music as a Sonic Enabler : Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles / Laura Anderson ; Palimpsest, Mediation, Déjà entendu-Effect : The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita / Emilio Sala ; Michael Nyman and the Development of an Art House Musical Aesthetic / Pwyll ap Siôn -- PART II. Music and Narration : The Meaning Beyond the Text. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine / Joan Titus ; Michelangelo Antonioni's Il grido : Its Music and the Pain of Living / Roberto Calabretto -- PART III. Music as Cinematic Metaphor in a Repressed Political System. A Taste of Freedom Behind Closed Doors : Romanian Film Music before the Fall of Communism, 1955-85 / Dominique Nasta ; Echoes of Catastrophe : Music in Films of The Polish School / Iwona Sowińska ; The Soundtrack of the Uncanny : Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975) / Karen Poe Lang |
| ctrlnum | (OCoLC)1381304327 (DE-599)BVBBV048838951 |
| discipline | Musikwissenschaft |
| era | Geschichte 1940-1989 gnd |
| era_facet | Geschichte 1940-1989 |
| format | Book |
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| record_format | marc |
| series2 | Music and sound on the international screen |
| spellingShingle | Music, authorship, narration, and art cinema in Europe 1940s to 1980s Introduction / Michael Baumgartner -- PART I. Cinematic Collaborations and the Questioning of the Auteur Style Through Music. Music as a Sonic Enabler : Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles / Laura Anderson ; Palimpsest, Mediation, Déjà entendu-Effect : The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita / Emilio Sala ; Michael Nyman and the Development of an Art House Musical Aesthetic / Pwyll ap Siôn -- PART II. Music and Narration : The Meaning Beyond the Text. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine / Joan Titus ; Michelangelo Antonioni's Il grido : Its Music and the Pain of Living / Roberto Calabretto -- PART III. Music as Cinematic Metaphor in a Repressed Political System. A Taste of Freedom Behind Closed Doors : Romanian Film Music before the Fall of Communism, 1955-85 / Dominique Nasta ; Echoes of Catastrophe : Music in Films of The Polish School / Iwona Sowińska ; The Soundtrack of the Uncanny : Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975) / Karen Poe Lang Politischer Film (DE-588)4331647-5 gnd Filmmusik (DE-588)4017129-2 gnd Kollaboration (DE-588)4031748-1 gnd Autorenfilme (DE-588)4248197-1 gnd Zeithintergrund (DE-588)4128644-3 gnd |
| subject_GND | (DE-588)4331647-5 (DE-588)4017129-2 (DE-588)4031748-1 (DE-588)4248197-1 (DE-588)4128644-3 (DE-588)4015701-5 (DE-588)4143413-4 |
| title | Music, authorship, narration, and art cinema in Europe 1940s to 1980s |
| title_auth | Music, authorship, narration, and art cinema in Europe 1940s to 1980s |
| title_exact_search | Music, authorship, narration, and art cinema in Europe 1940s to 1980s |
| title_full | Music, authorship, narration, and art cinema in Europe 1940s to 1980s edited by Michael Baumgartner and Ewelina Boczkowska |
| title_fullStr | Music, authorship, narration, and art cinema in Europe 1940s to 1980s edited by Michael Baumgartner and Ewelina Boczkowska |
| title_full_unstemmed | Music, authorship, narration, and art cinema in Europe 1940s to 1980s edited by Michael Baumgartner and Ewelina Boczkowska |
| title_short | Music, authorship, narration, and art cinema in Europe |
| title_sort | music authorship narration and art cinema in europe 1940s to 1980s |
| title_sub | 1940s to 1980s |
| topic | Politischer Film (DE-588)4331647-5 gnd Filmmusik (DE-588)4017129-2 gnd Kollaboration (DE-588)4031748-1 gnd Autorenfilme (DE-588)4248197-1 gnd Zeithintergrund (DE-588)4128644-3 gnd |
| topic_facet | Politischer Film Filmmusik Kollaboration Autorenfilme Zeithintergrund Europa Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034104411&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT baumgartnermichael musicauthorshipnarrationandartcinemaineurope1940sto1980s AT boczkowskaewelina musicauthorshipnarrationandartcinemaineurope1940sto1980s |