Film Music

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Reaktion Books, 2007 - 254 páginas
Just hearing a few notes from certain songs can bring a movie back to life—whether the Doors' “The End” fromApocalypse Now, Simon and Garfunkel's “Mrs. Robinson” in The Graduate, or John Williams' scores to such blockbusters asJaws, Star Wars, and Raiders of the Lost Ark. But what is the relationship between film and music—where does the film begin and the music end?
Taking off from a variation of that question—whether music accompanies a film or a film illustrates the music—Peter Larsen probes the complex relationship between the two. He charts the history of music in film, exploring along the way the role that music plays in the narrative and psychological functions of film. Examining such classics and blockbusters asThe Big Sleep, American Graffiti, North by Northwest, and Blade Runner,Larsen uses these case studies to demonstrate how scores and soundtracks can expose unexpected new facets of a film.
A wholly accessible examination, Film Music will be an essential read for music scholars and film buffs alike.

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Índice

Introduction
7
Silent Films Talking Music
13
Analysing Film Music
36
Metropolis 1927
47
Musical Meanings
66
Enter the Sound Film
76
The Big Sleep 1946
98
North by Northwest 1959
123
Necessity or Possibility?
184
Musical Functions
202
References
219
Bibliography
239
Acknowledgements
245
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Sobre el autor (2007)

Peter Larsen is professor in the Department of Information Science and Media Studies at the University of Bergen in Norway. John Irons has translated several books from Norwegian, including Lars Svendsen's books Fashion: A Philosophy and A Philosophy of Boredom, both published by Reaktion Books.

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