Between 1946 and 1959, the most outspoken voice in British film music was that of the Austrian emigre Hans Keller. This work is a collection of writings on film music by the celebrated critic.
Beyond the Beyond: Music from the Films of David Lynch explores the use of music and sound in Lynch's films, as well as his own original music, and draws on the director's personal archives of photographs and ephemera from Eraserhead onward. From his early short films made in Philadelphia in the 1960s up through more recent feature films like Inland Empire (2006), legendary artist and director David Lynch (born 1946) has used sound to build mood, subvert audience expectations and create new layers of affective meaning.
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. Once we think beyond the soundtrack, this volume shows, there is no unheard music in cinema.
Hearing the Movies, Second Edition, combines a historical and chronological approach to the study of film music and sound with an emphasis on building listening skills. Through engaging, accessible analyses and exercises, the book covers all aspects of the subject, including how a soundtrack is assembled to accompany the visual content, how music enhances the form and style of key film genres, and how technology has influenced the changing landscape of film music.
A Texas history classic, available again . . . Phil Collins received a birthday present that would change his life: a receipt for a saddle signed by an Alamo defender. From that point forward, the drummer began building his impressive Alamo and Texas Revolution collection. “I didn’t know this stuff was out there, that you could own it,” the rock-n-roll legend said. “It had never occurred to me.” Before long, he had amassed nearly 500 items! These priceless artifacts are now housed at the Alamo’s brand new Ralston Family Collections Center behind the iconic Alamo Church and the venerable Gift Shop amid the tranquil setting of the Alamo gardens. This 24,000 square foot facility showcases not only Phil’s great collection immortalized is this his book, but are joined by his remarkable narrated presentation of the siege and battle of the Alamo built around the masterpiece scale replica of the compound first created by artist Mark Lemon for the State House Press book The Illustrated Alamo: A Photographic Journey. The Alamo and Beyond, now in a third printing in partnership with The Texas Center at Schreiner University, is you way of taking Phil’s collection home with you. When Phil Collins was a kid growing up in a London suburb, he would often watch an amazing show on his family television. There, in black and white, was Fess Parker as Davy Crockett, King of the Wild Frontier. As he matured, Collins not only acted out the exploits of his new hero, but he often refought the Battle of the Alamo with his toy soldiers. Even though music came to dominate his life, it was this love of history—and Davy Crockett and the Alamo in particular—that was always near by. On one musical tour, Collins encountered his first David Crockett autograph—for sale at a store called the Gallery of History. “I didn’t know this stuff was out there, that you could own it,” the rock-n-roll legend said. “It had never occurred to him. Later, he received a birthday present that would change his life: a receipt for a saddle signed by an Alamo defender. From that point forward, the drummer began building his impressive Alamo and Texas Revolution collection. Here, for the first time in history, are the artifacts, relics, and documents that compose the Phil Collins collection, available in a beautifully designed color book shot-through with stunning photography and crisply rendered illustrations. Collins’s prose takes the reader through the joys of being a collector as he lovingly describes what each piece in this impressive assemblage means to him. Photographer Ben Powell of Austin brought these items to vivid relief, and artist Gary Zaboly’s masterful pen-and-ink drawings breath life into the items. Essays by Texas historians Bruce Winders, Don Frazier, and Stephen Hardin provide the historical background to the collection and help make this into a work of art that also serves handily as a serious research tool.
Body and space refer to vital and interrelated dimensions in the experience of sounds and music. Sounds have an overwhelming impact on feelings of bodily presence and inform us about the space we experience. Even in situations where visual information is artificial or blurred, such as in virtual environments or certain genres of film and computer games, sounds may shape our perceptions and lead to surprising new experiences. This book discusses recent developments in a range of interdisciplinary fields, taking into account the rapidly changing ways of experiencing sounds and music, the consequences for how we engage with sonic events in daily life and the technological advancements that offer insights into state-of-the-art methods and future perspectives. Topics range from the pleasures of being locked into the beat of the music, perception–action coupling and bodily resonance, and affordances of musical instruments, to neural processing and cross-modal experiences of space and pitch. Applications of these findings are discussed for movement sonification, room acoustics, networked performance, and for the spatial coordination of movements in dance, computer gaming and interactive artistic installations.
Since digital surround sound technology first appeared in cinemas 20 years ago, it has spread from theaters to homes and from movies to television, music, and video games. Yet even as 5.1 has become the standard for audiovisual media, its impact has gone unexamined. Drawing on works from the past two decades, as well as dozens of interviews with sound designers, mixers, and editors, Mark Kerins uncovers how 5.1 surround has affected not just sound design, but cinematography and editing as well. Beyond Dolby (Stereo) includes detailed analyses of Fight Club, The Matrix, Hairspray, Disturbia, The Rock, Saving Private Ryan, and Joy Ride, among other films, to illustrate the value of a truly audiovisual approach to cinema studies.
The profound influence of the Hollywood musical across geographical and cultural boundaries has long been neglected. This original collection of essays seeks to initiate a new critical debate by approaching classic Hollywood films from perspectives such as 'musicology'. Broadening the scope of previous studies, this volume also examines the manner in which European cinema appropriated the musical to create new meanings. It provides an innovative reading of the influence of the musical on youth culture, and its endorsement in modern dance movies and the music video. The volume covers the themes of: Music and Structure Classical Hollywood Musical Cinematic Practice Star Texts European Musical Forms Minority Identities Youth Cultures This is an entertaining and valuable text for students on degree courses in Film and Music. Thought-provoking and authoritative, it will also be a welcome resource for those researching and teaching in the area."
"Malcolm Le Grice, an important experimental filmmaker from England, film journalist for Studio International, and teacher ... gives us a lucid account, both historical and theoretical, of the main preoccupations of abstract filmmakers.... "Le Grice begins with a painter, Cezanne, to show how his preoccupation with pictorial space is a key to any understanding of the notion of abstraction. He goes on to discuss the Futurists' cinema, the early abstract film experiments by Eggeling, Duchamp and others in Germany and France of the '20s, the West Coast filmmakers of the '40s, and a stimulating view of the experimental film movement after WW II, including the works of Brakhage, Snow, Gidal and Sharits." - Art Direction "Whether or not one agrees with Le Grice's valuation of an alternate cinema, Abstract Film and Beyond clearly demonstrates that the cinema, that great twentieth-century art, is no mere entertainment, but an event of tremendous importance and implication." - The Journal of Aesthetics and Art Criticism
In Music in Disney’s Animated Features James Bohn investigates how music functions in Disney animated films and identifies several vanguard techniques used in them. In addition, he also presents a history of music in Disney animated films, as well as biographical information on several of the Walt Disney Studios’ seminal composers. The popularity and critical acclaim of Disney animated features truly is built as much on music as it is on animation. Beginning with Steamboat Willie and continuing through all of the animated features created under Disney’s personal supervision, music was the organizing element of Disney’s animation. Songs establish character, aid in narrative, and fashion the backbone of the Studios’ movies from Snow White and the Seven Dwarfs through The Jungle Book and beyond. Bohn underscores these points while presenting a detailed history of music in Disney’s animated films. The book includes research done at the Walt Disney Archives as well as materials gathered from numerous other facilities. In his research of the Studios’ notable composers, Bohn includes perspectives from family members, thus lending a personal dimension to his presentation of the magical Studios’ musical history. The volume’s numerous musical examples demonstrate techniques used throughout the Studios’ animated classics.