Music, Narrative and the Moving Image
Varieties of Plurimedial Interrelations
Published on 16. May 2019
Book
Hardback
266 pages
978-90-04-39904-4 (ISBN)
Description
By focusing on discussions of artistic works that show relationships between three individual communicative media, this volume adopts an innovative, trifocal interdisciplinary perspective: the traditional field of Word and Music Studies is here extended to include research on film and other forms of moving visualizations.
More details
Series
Language
English
Place of publication
Leiden
Netherlands
Target group
Professional and scholarly
Product notice
sewn/stitched
Cloth over boards
Dimensions
Height: 239 mm
Width: 160 mm
Thickness: 23 mm
Weight
567 gr
ISBN-13
978-90-04-39904-4 (9789004399044)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Persons
Walter Bernhart, retired Professor of English Literature at the University of Graz, Austria, is president of The International Association for Word and Music Studies (WMA) and editor of two Brill book series. His collected Essays on Literature and Music (1985-2013) were published in 2015.
David Francis Urrows is a historical musicologist and composer. He taught at Hong Kong Baptist University, where he established The Pipe Organ in China Project (www.organcn.org), and is editor of the critical edition of the works of Otto Dresel (1826-1890).
David Francis Urrows is a historical musicologist and composer. He taught at Hong Kong Baptist University, where he established The Pipe Organ in China Project (www.organcn.org), and is editor of the critical edition of the works of Otto Dresel (1826-1890).
Content
Preface
Part 1
Section 1: Film Music: Reflections on Functions
1 Music's Body and the Moving Image
?Lawrence Kramer
2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving Images
?Saskia Jaszoltowski
3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman Show
?Werner Wolf
4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic Model
?Jordan Carmalt Stokes
Section 2: Film Music: Significant Intermedial Cases
5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni's Rapsodia Satanica (1915)
?Bernhard Kuhn
6 Humanized Documentary, "Light" Verse, and Music Made to Fit: G.P.O. Film Unit/Auden/Britten's Night Mail (1936)
?Walter Bernhart
7 An Incarnation of Memory: Song as Absence in Claude Lanzmann's Shoah
?Ruth Jacobs
8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan's Winter Sleep
?Heidi Hart
9 Mise en scene, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski's Ida
?Christopher Booth
Part 2: Intermedial Varieties
10 Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre
?Peter Dayan
11 'The Big Turnaround in the Middle': On the Silent Movie and the Film Music Interlude in Alban Berg's Opera Lulu
?Marion Recknagel
12 All the Pieces Matter: On Complex TV Music
?Frieder von Ammon
13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across Media
?Emily Petermann
Part 3: Remediations
14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten's Juan
?Axel Englund
15 Novel, Woodcuts, Film, Music ...: Pondering over the Title of Gara Garayev's Symphony Engravings "Don Quixote"
?Alla Bayramova
16 Film as Opera: Three Perspectives on Still Life and Brief Encounter
?Michael Halliwell
17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil?
?David Francis Urrows
List of Figures
Notes on Contributors
Index
Part 1
Section 1: Film Music: Reflections on Functions
1 Music's Body and the Moving Image
?Lawrence Kramer
2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving Images
?Saskia Jaszoltowski
3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman Show
?Werner Wolf
4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic Model
?Jordan Carmalt Stokes
Section 2: Film Music: Significant Intermedial Cases
5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni's Rapsodia Satanica (1915)
?Bernhard Kuhn
6 Humanized Documentary, "Light" Verse, and Music Made to Fit: G.P.O. Film Unit/Auden/Britten's Night Mail (1936)
?Walter Bernhart
7 An Incarnation of Memory: Song as Absence in Claude Lanzmann's Shoah
?Ruth Jacobs
8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan's Winter Sleep
?Heidi Hart
9 Mise en scene, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski's Ida
?Christopher Booth
Part 2: Intermedial Varieties
10 Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre
?Peter Dayan
11 'The Big Turnaround in the Middle': On the Silent Movie and the Film Music Interlude in Alban Berg's Opera Lulu
?Marion Recknagel
12 All the Pieces Matter: On Complex TV Music
?Frieder von Ammon
13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across Media
?Emily Petermann
Part 3: Remediations
14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten's Juan
?Axel Englund
15 Novel, Woodcuts, Film, Music ...: Pondering over the Title of Gara Garayev's Symphony Engravings "Don Quixote"
?Alla Bayramova
16 Film as Opera: Three Perspectives on Still Life and Brief Encounter
?Michael Halliwell
17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil?
?David Francis Urrows
List of Figures
Notes on Contributors
Index