This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to the image in shaping the experience of film. Refuting the familiar idea that music serves as an unnoticed prop for narrative, these essays demonstrate that music is a fully imagined and active power in the worlds of film. Even where films do give it a supporting role--and many do much more--music makes an independent contribution. Drawing on recent advances in musicology and cinema studies, Beyond the Soundtrack interprets the cinematic representation of music with unprecedented richness. The authors cover a broad range of narrative films, from the "silent" era (not so silent) to the present. Read more...
List of Illustrations
Introduction. Phonoplay: Recasting Film Music
PART I: MUSICAL MEANING
1. The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the "Symphonic Score"
2. Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica
3. Minima Romantica
4. Melodic Trains: Music in Polanski's The Pianist
5. Mute Music: Polanski's The Pianist and Campion's The Piano
PART II: MUSICAL AGENCY
6. Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo. 7. Sight, Sound, and the Temporality of Myth Making in Koyaanisqatsi8. How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain
9. Auteur Music
10. Transport and Transportation in Audiovisual Memory
11. The Fantastical Gap between Diegetic and Nondiegetic
PART III: MUSICAL IDENTITY
12. Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital
13. Before Willie: Reconsidering Music and the Animated Cartoon of the 1920s
14. Side by Side: Nino Rota, Music, and Film
15. White Face, Black Noise: Miles Davis and the Soundtrack. 16. Men at the Keyboard: Liminal Spaces and the Heterotopian Function of MusicNotes on Contributors
Works Cited
Index of Films Cited
Index of Names
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