Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation.
Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation.
Michael Baumgartner is Associate Professor of Musicology, Cleveland State University. Ewelina Boczkowska is Professor of Musicology, Youngstown State University.
Inhaltsangabe
Part 1: Cinematic Collaborations and the Questioning of the Auteur Style Through Music 1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles Laura Anderson 2. Palimpsest, Mediation, Déjà entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita Emilio Sala 3. Michael Nyman and the Development of an Art House Musical Aesthetic Pwyll ap Siôn Part 2: Music and Narration: The Meaning Beyond the Text 4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine Joan Titus 5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living Roberto Calabretto Part 3: Music as Cinematic Metaphor in a Repressed Political System 6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85 Dominique Nasta 7. Echoes of Catastrophe: Music in Films of The Polish School Iwona Sowi¿ska 8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975) Karen Poe Lang
Part 1: Cinematic Collaborations and the Questioning of the Auteur Style Through Music 1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles Laura Anderson 2. Palimpsest, Mediation, Déjà entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita Emilio Sala 3. Michael Nyman and the Development of an Art House Musical Aesthetic Pwyll ap Siôn Part 2: Music and Narration: The Meaning Beyond the Text 4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine Joan Titus 5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living Roberto Calabretto Part 3: Music as Cinematic Metaphor in a Repressed Political System 6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85 Dominique Nasta 7. Echoes of Catastrophe: Music in Films of The Polish School Iwona Sowi¿ska 8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975) Karen Poe Lang
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