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Music and Cinema
James Buhler, ed.; Caryl Flinn, ed.; David Neumeyer, ed.

Wesleyan University Press



Contents

• Introduction
• Part one: Leitmotif: New Debates and Questions
• Star Wars, Music and Myth James Buhler
• Richard Wagner and the Fantasy of Cinematic Unity: The Idea of the Gesamtkunstwerk in the History and Theoru of Film and Music Scott D. Paulin
• Leitmotifs and Musical Reference in the Classical Film Score Justin London
• Part two: Beyond Classical Film Music
• Songlines: Alternative Journeys in Contemporary European Cinema Wendy Everett
• Strategies of Remembrance: Music and History in the New German Cinema Caryl Flinn
• Kansas City Dreamin’: Robert Altman’s Jazz History Lesson Krin Gabbard
• Part three: Style and Practice in Classical Film Music
• Music, Drama, Warner Brother: The Cases of Casablanca and the Maltese Falcom Martin Marks
• Tonal Design and the Aesthetic of Pastiche in Herbert Stothart’s Maytime Ronald Rodman
• Finding Release: “Storm Clouds” and The Man Who Knew Too Much Murray Pomerance
• That Money-Making “Moon River” Sound: Thematic Organization and Orchestration in the Film Music of Henry Mancini Jeff Smith
• Part Four: Gender, Ethnicity, Identity
• Ultrasound: The Feminine in the Age of Mechanical Reproduction Michelle Lekas
• Designing Women : Art Deco, the Musical, and the Female Body Lucy Fischer
• Disciplining Josephine Baker: Gender, Race, and the Limits of Disciplinarity Kathryn Kalinak
• Part five: Methodological Possibilities
• Inventing the Cinema Soundtrack: Hollywood’s Multiplane Sound System Ric Altman, with McGraw Jones and Sonia Tatroe
• Film Music: Perspectives from Cognitive Psychology Annabel J Cohen

Wed, 15 Nov 2017 15:06:07 -0500