Music, Authorship, Narration, and Art Cinema in Europe

1940s to 1980s
1. Auflage 2024
ISBN: 978-1-032-39908-9
Verlag: Taylor & Francis

Buch, Englisch, 250 Seiten, Format (B × H): 152 mm x 229 mm, Gewicht: 340 g

Reihe: Music and Sound on the International Screen

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 directors, 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, intertwined nature of authorship in film, the role of film music, and sound, nation-state and art cinema, and European cinematic history, this volume offers a valuable addition to research across music and film studies.

Zielgruppe

Academic and Postgraduate

Autoren/Hrsg.

Baumgartner, Michael

Boczkowska, Ewelina

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgeschichte
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik

Inhaltsverzeichnis

Part 1: Cinematic Collaborations and the Questioning of the Auteur Style Through Music

1. Music as a Sonic Enabler: Jean-Pierre Melville’s Film Adaptation of Jean Cocteau’s Les enfants terribles

Laura Anderson

2. Palimpsest, Mediation, Déjà entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota’s La dolce vita

Emilio Sala

3. Michael Nyman and the Development of an Art House Musical Aesthetic

Pwyll ap Siôn

Part 2: Music and Narration: The Meaning Beyond the Text

4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine

Joan Titus

5. Michelangelo Antonioni’s Il grido: Its Music and the Pain of Living

Roberto Calabretto

Part 3: 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

Dominique Nasta

7. Echoes of Catastrophe: Music in Films of The Polish School

Iwona Sowinska

8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura’s Ana y los lobos (1972) and Cría cuervos (1975)

Karen Poe Lang

Über Autor(innen)

Michael Baumgartner is Associate Professor of Musicology, Cleveland State University.

Ewelina Boczkowska is Professor of Musicology, Youngstown State University.