Film music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world. Film Music: A Very Short Introduction is a compact, lucid, and thoroughly engaging overview written by one of the leading authorities on the subject. After opening with a fascinating analysis of the music from a key sequence in Quentin Tarantino's Reservoir Dogs, Kathryn Kalinak introduces readers not only to important composers and musical styles but also to modern theoretical concepts about how and why film music works. Throughout the book she embraces a global perspective, examining film music in Asia and the Middle East as well as in Europe and the United States. Key collaborations between directors and composers--Alfred Hitchcock and Bernard Herrmann, Akira Kurosawa and Fumio Hayasaka, Federico Fellini and Nino Rota, to name only a few--come under scrutiny, as do the oft-neglected practices of the silent film era. She also explores differences between original film scores and compilation soundtracks that cull music from pre-existing sources. As Kalinak points out, film music can do many things, from establishing mood and setting to clarifying plot points and creating emotions that are only dimly realized in the images. This book illuminates the many ways it accomplishes those tasks and will have its readers thinking a bit more deeply and critically the next time they sit in a darkened movie theater and music suddenly swells as the action unfolds onscreen. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.
Complete Guide to Film Scoring Pi— “California Girls,”294 camera angles, 13 Cameron, James, 70 Campbell, Don, 205 Cane, Chris, 176 Carey, Mariah, 200 Carl Fischer Music, 10 Carlin, Daniel, 200–201 Carlin, Tom, 368–369 Carlos, Wendy, ...
This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by ...
Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition.
4 Patterson, 10. 5 Barton W. Currie, “The Nickel Madness,” Harper's Weekly, August 24, 1907,1246. 6 Ibid. Formorestatistics, see Ben Singer, “Manhattan Nickelodeons: New Data on Audiences and Exhibitors,” in The Silent Cinema Reader, ...
A Neglected Art : a Critical Study of Music in Films Roy M. Prendergast. the early days of sound . One was to utilize music essentially as it had been utilized in the silent film : having constant music in the background throughout the ...
Raj Kapoor's Films : Harmony of Discourses . New Delhi : Vikas Publishing House . Kaur , Harpreet . 2004. " Churning Out Classics . ” Jetwings ( March ) : 166-69 . Prasad , M. Madhava . 2000. Ideology of the Hindi Film : A Historical ...
Important issues that permeate all the essays involve the working relationship of composer and director, the dialectic between the diegetic and non-diegetic uses of music in films, the music-image synergism and the levels of realism that ...
Most people's view of silent film music is of a pianist playing old scores while watching the flickering screen.
... 163 , 167 , 168 , 171 King of the Khyber Rifles 20 King Kong 8,11 The Knack 71,75 Korngold , Eric . ... 12 , 121 , 131 La Cava , Gregory 11 L.A. Confidential 59 ' Lara's theme ' , Jarre 49,55 L'Arrivée d'un train à la Ciotat 10 ...
Its source is Mygale by Thierry Jonquet, published in English as Tarantula, but one can also cite the French cult horror film Eyes Without a Face (Georges Franju) and the expressionism of Fritz Lang as influences.