Music, Sound and Filmmakers: Sonic Style in CinemaJames Eugene Wierzbicki Routledge, 2012 - 210 pagine Music, Sound and Filmmakers: Sonic Style in Cinema is a collection of essays that examine the work of filmmakers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of directors Wes Anderson, Ingmar Bergman, the Coen brothers, Peter Greenaway, Krzysztof Kieślowski, Stanley Kubrick, David Lynch, Quentin Tarantino, Andrey Tarkovsky and Gus Van Sant. Significantly, the anthology includes a discussion of films administratively controlled by such famously sound-conscious producers as David O. Selznick and Val Lewton. Written by the leading film music scholars from Europe, North America, and Australia, Music, Sound and Filmmakers: Sonic Style in Cinema will complement other volumes in Film Music coursework, or stand on its own among a body of research. |
Sommario
Chapter 1 Sonic Style in Cinema | 1 |
Chapter 2 Music Sound and Silence in the Films of Ingmar Bergman | 15 |
The Refrain of the Sonic Fingerprint | 32 |
Sonic Shaping in the Films of Wes Anderson | 45 |
Chapter 5 Kieślowskis Musique concrète | 61 |
Chapter 6 Gus Van Sants Soundwalks and Audiovisual Musique concrète | 76 |
Music and Meaning in the Coen Brothers Films | 89 |
Chapter 8 Sound and Uncertainty in the Horror Films of the Lewton Unit | 107 |
Music Nuclear Bombs Disorientationand You | 138 |
Controlling Sonic Space in the Films of Peter Greenaway | 151 |
Tarantinos Sonic Style | 165 |
Notes on Lynchian Sound Design | 175 |
Lists of Contributors | 189 |
191 | |
202 | |
David O Selznick and the Hollywood Film Score | 122 |