British Film Music and Film Musicals

In the first book-length consideration of the topic for sixty years, Kevin Donnelly examines the importance of music in British film, concentrating both on musical scores, such as William Walton's score for Henry V (1944) and Malcolm Arnold's music for The Bridge on the River Kwai (1957), and on the phenomenon of the British film musical.

'Donnelly's book is a welcome addition to the slowly expanding corpus of serious writing on British film music.' - Jeffrey Richards, Journal of British Cinema and Television

'British Film Music and Film Musicals constitutes a valuable addition to the analytical literature on music in films, especially for its emphasis on the relations between aesthetics and the production contexts. Equally important is the explicit challenge towards the hegemony of mainstream Hollywood cinema.' - Lee Marshall, University of Bristol UK, Journal of Popular Music

Autorentext
K.J DONNELLY lectures in the Department of Film Studies at the University of Southampton, UK. He is the author of Pop Music in British Cinema (2001) and The Spectre of Sound (2005), and editor of Film Music: Critical Approaches (2001).

Inhalt
Acknowledgements Introduction British Film Music Wicked Sounds and Magic Melodies: Music in Gainsborough Melodramas Did You Hear the One about the Irishman? Sound and Music, Forging Ethnicity in Odd Man Out (1946) Experimenting with Film Scores, 1967-1970 Pop Music Culture, Synergy and Songs in Films: Hardware (1990) and Trainspotting (1996) History of British Film Musicals Stage to Screen: Whatever Happened to the British Musical Adaptation? The Perpetual Busman's Holiday: Sir Cliff Richard and the British Pop Musical The Musical Revolution: The Beatles in A Hard Day's Night White Labels and Black Imports: Music, Assimilation and Commerce in Absolute Beginners (1985) Notes Bibliography Index