Description
Book SynopsisThe analysis of film music is emerging as one of the fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study, Deleuze and Film Music also offers a solution—a methodological bridge—that will take film music analysis to a new level.
Table of ContentsIntroduction Methodology Deleuzian Sensation and Maurice Jaubert’s score for
L’Atalante The Division of the One: Leonard Rosenman and the score for
East of Eden Dmitri Shostakovich’s score for Kozintsev’s
Hamlet Fragments of a Life: Becoming-music/ woman in Krzysztof Kieslowski’s
Blue The changing conception of space as a delineator in film score style: A comparative analysis of the scores for
Things to Come and
Scott of the Antarctic Conclusion
