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Contents Introduction: Phonoplay: Film Music Studies Today 000 I. Musical Meaning The Boy on the Train (or Bad Symphonies and Good Movies): The Revealing Error of the "Symphonic Score" Peter Franklin 000 Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica Nicholas Cook 000 Minima Romantica Susan McClary 000 Melodic Trains: Music in Polanksi's The Pianist Lawrence Kramer 000 "Mute Music" in Three Films by Jane Campion (The Piano), Krzystof Kieslowski (Trois Couleurs Bleu), and Roman Polanski (The Pianist) Michel Chion 000 II. Musical Agency Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo Richard Leppert Sight, Sound, and the Temporality of Myth-Making in Koyaanisqatsi Mitchell Morris 000 How Sound Floats on Land: The Suppression and Release of Folk and Indigenous Musics in the Cinematic Terrain Philip Brophy 000 Auteur Music Claudia Gorbman 000 Transport and Transportation in Audiovisual Memory Berthold Hoeckner 000 The Fantastical Gap between Diegetic and Non-Diegetic Robynn J. Stilwell 000 III. Musical Identity Early Film Themes: Roxy, Adorno, and the Problem of Cultural Capital Rick Altman 000 Before Willie; Reconsidering Music and the Animated Cartoon of the 1920s Daniel Goldmark 000 Side by Side: Nino Rota, Music, and Film Richard Dyer 000 White Face, Black Noise: Miles Davis and the Soundtrack Krin Gabbard 000 Men at the Keyboard: Liminal Spaces and the Heterotopian Function of Music Gary Thomas 000 Notes on AuthorsContributors 000 Filmography 000 Works Cited 000
Library of Congress Subject Headings for this publication:
Motion picture music -- History and criticism.