Details

Film/Music Analysis


Film/Music Analysis

A Film Studies Approach
Palgrave Studies in Audio-Visual Culture

von: Emilio Audissino

28,88 €

Verlag: Palgrave Macmillan
Format: PDF
Veröffentl.: 14.10.2017
ISBN/EAN: 9783319616933
Sprache: englisch

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Beschreibungen

<p>This book offers an approach to film music in which music and visuals are seen as equal players in the game. The field of Film-Music Studies has been increasingly dominated by musicologists and this book brings the discipline back squarely into the domain of Film Studies. Blending Neoformalism with Gestalt Psychology and Leonard B. Meyer's musicology, this study treats music as a cinematic element and offers scholars and students of both music and film a set of tools to help them analyse the wide ranging impact that music has in films.</p>
<div><p>1. Introduction: Who Is Entitled To Study Film Music?.- 2. PART I: Pars Destruens - Chapter 2. The Not-So-Fantastical Gap between Music Studies and Film Studies.- 3. Recent Attempts to Bridge the Gap and Overcome a Separatism Conception.- 4. PART II: Pars Construens - Chapter 4. The Neoformalist Proposal.- 5. Film/Music Analysis I: Music, Gestalt, and Audiovisual Isomorphism.- 6. Film/Music Analysis II: Functions and Motivations of Music.- 7. PART III: Pars Demonstrans - Chapter 7. Five Illustrations of Film/Music Analysis.- 8. Close Encounters of the Third Kind and E.T. The Extraterrestrial. The Bonding Power of Music.- 9. Recapitulation and Final Thoughts.</p></div>
<p><b>Dr Emilio Audissino</b> is a film historian and film musicologist based at the University of Southampton, UK. He has published widely on the topic of film music and is the author of <i>John Williams's Film Music: Jaws, Star Wars, Raiders of the Lost Ark and the Return of the Classical Hollywood Music Style</i> (2014). </p>
This book offers an approach to film music in which music and visuals are seen as equal players in the game. The field of Film-Music Studies has been increasingly dominated by musicologists and this book  brings the discipline back squarely into the domain of of Film Studies. Blending Neoformalism with Gestalt Psychology and Leonard B. Meyer's musicology, this study treats music as a cinematic element and offers scholars and students of both music and film a set of tools to help them analyse the wide ranging impact that music has in films.<br/>
Deals comprehensively with film music from a film scholar’s perspective Applies Neoformalism and Gestalt Theory in place of a culturalist/hermeneutic approach Widens our understanding of the agency of film music to include cases in which music performs formal/stylistic functions Considers international films spanning from the classical to the contemporary cinema Includes supplementary material: sn.pub/extras
<div>Deals comprehensively with film music from a film scholar’s perspective</div><div><br/>Applies Neoformalism and Gestalt Theory in place of a culturalist/hermeneutic approach</div><div><br/>Widens our understanding of the agency of film music to include cases in which music performs formal/stylistic functions</div><div><br/>Considers international films spanning from the classical to the contemporary cinema</div><div><br/></div>
“In this compelling analysis of how film music functions in a wide variety of contexts, Audissino illustrates his clearly explained theoretical concepts with numerous well-chosen examples and substantial case studies. Approaching its subject primarily (and refreshingly) from a film-studies perspective, this book will equally prove an immensely useful and thought-provoking resource for anyone interested in music and cinema.” (Mervyn Cooke, Professor of Music at University of Nottingham, UK, and author of A History of Film Music, 2008) <p>“Thirty years ago, Claudia Gorbman pioneered placing film music within regular film theory. Now it once again seems necessary to apply a theoretical frame which allows music to be treated as a cinematic device and not as autonomous music. Here Emilio Audissino couples neoformalism and Meyer’s musicology into an analytical tool that highlights the interplay between film and music. This book is indispensable for every scholar who wants to analyze and understand film music.” (Ann-Kristin Wallengren, Professor in Film Studies, Lund University, Sweden, and co-editor (with K.J. Donnelly) of Today’s Sounds for Yesterday’s Films: Making Music for Silent Cinema, 2016)</p>

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