Contemporary Film Music

Investigating Cinema Narratives and Composition
1. Auflage 2017
ISBN: 978-1-137-57374-2
Verlag: Palgrave Macmillan UK

Buch, Englisch, 272 Seiten, HC runder Rücken kaschiert, Format (B × H): 153 mm x 216 mm, Gewicht: 4753 g

The purpose of this book, through its very creation, is to strengthen the dialogue between practitioner and theorist. To that end, a film academic and musicologist have collaborated as editors on this book, which is in turn comprised of interviews with composers alongside complementary chapters that focus on a particular feature of the composer’s approach or style. These chapters are written by a fellow composer, musicologist, or film academic who specializes in that element of the composer’s output. In the interview portions of this book, six major film composers discuss their work from the early 1980s to the present day: Carter Burwell, Mychael Danna, Dario Marianelli, Rachel Portman, Zbigniew Preisner, and A.R. Rahman. The focus is on the practical considerations of film composition, the relationship each composer has with the moving image, narrative, technical considerations, personal motivations in composing, the relationships composers have with their directors, and their own creative processes. Contemporary Film Music also explores the contemporary influence of electronic music, issues surrounding the mixing of soundtracks, music theory, and the evolution of each composer’s musical voice.

Zielgruppe

Research

Autoren/Hrsg.

Tillman, Joakim

Coleman, Lindsay

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikgattungen Filmmusik
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse

Inhaltsverzeichnis

1. Film Composition in the 21st Century.Lindsay Coleman & Joakim Tillman.-2.  Zbigniew Priesner.-Van den Budenmayer, Three Colours:  Red (1994), Three Colours: Blue (1993), The Double Life of Veronique (1989).Music by Zbigniew Preisner?: Fictional Ccomposers and Ccompositions in the Kieslowski collaborations.Jonathan Godsall.-3. Mychael Danna.-Mychael Danna and the Modern Conundrum of World Music: An Analysis of Life of Pi and The Ice Storm.Peter Golub and Katy Jarzebowski.-4. Carter Burwell.-Carter Burwell and Space: Inner, Outer, Environmental and Acoustic.Andrew Waggoner.-5. Rachel Portman.-Eero Tarasti and the Narratological Construction of Rachel Portman's Emma.Lindsay Coleman.-6. Elliot Goldenthal.-Conversations with Past and Present: Stylistic Pluralism and Leitmotif Technique in the film music of Elliot Goldenthal.Joakim Tillman.-7. Dario Marianelli.-Dario Marianelli and the Voice of the Cello:  The Gendering of Musical Solos in Atonement, Pride and Prejudice, and Jane Eyre.Lindsay Coleman & Joakim Tillman.-8. A.R. Rahman.The 'Alternate Space' of A.R. Rahman's Film Music.Felicity Wilcox.-9. John Williams.-The Scores of John Williams: Sentence and Period.Emilio Audissino & Konstantinos Zacharopoulos 

Über Autor(innen)

Lindsay Coleman is an independent film academic, journalist and educator. He is the author of Transnational Cinematography Studies (2017) and Sex and Storytelling in Modern Cinema (2015). Coleman is working on a series of books on modern cinema and also a documentary series on the history of visual effects.

Joakim Tillman is Associate Professor in Musicology at Stockholm University, Sweden. His research has appeared in numerous scholarly journals and edited volumes, for instance the essay Topoi and Intertextuality: Narrative Function in Hans Zimmer’s and Lisa Gerrard’s Music to Gladiator in Music in Epic Film: Listening to Spectacle (2017).