Description
Book SynopsisDraws on film, music, and narrative theory to present a comprehensive aesthetics of film music. This book traces the history of film music from its beginnings, covering both American and European cinema. It features readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, and Double Indemnity.
Table of ContentsAcknowledgments
Introduction
1 Narrative/Film/Music
2 Actions/Interactions: "Classical" Music
3 Actions/Interactions: Historical Overview
4 Actions/Interactions:
The Source Beyond the Source
5 Styles and Interactions: Beyond the Diegesis
Interlude I: Erich Wolfgang Komgold: The Sea Hawk (1940)
Interlude II: Miklos Rozsa: Double Indemnity (1944)
Interlude III: The Eisenstein/Prokofiev Phenomenon
6 Herrmann, Hitchcock, and the Music of the Irrational
7 New Styles, New Genres, New Interactions
Interlude IV: Jean-Luc Godard: Vivre sa vie (1962)
Interlude V: Jean-Luc Godard: Pierrot lefou (1965)
8 Music as Image as Music: A Postmodern Perspective
A Brief (Postmodern) Conclusion
lnterviews
Miklos Rozsa
David Raksin
Bernard Herrmann
Henry Mancini
Maurice Jarre
Lalo Schifrin
John Barry
Howard Shore
Appendix: How to Hear a Movie: An Outline
Notes
Discography
Bibliography
Index
