Hearing Film

Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film. Also includes 11 musical examples.

Zusatztext 'Refreshing in dealing with films of the 1980s and 1990s. It is also relatively rare to find film music books that seriously explore scores that rely to a large extent on popular music tracks. Hearing Film is a useful volume.'- Senses of Cinema'No longer an esoteric domain limited to a few specialists! the world of film sound tracks has finally come into its own! thanks to books like Anahid Kassabian's Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Turning her attention from the (traditional! male! European) realm of classical Hollywood composers to the (contemporary! female! American) sphere of music supervisors and compiled scores! Kassabian brilliantly shows how contemporary film music anchors a gendered identification process. Hearing Film is not just first-rate scholarship! it's exciting reading!'- Rick Altman! University of Iowa Professor of Cinema and Comparative Literature Informationen zum Autor Anahid Kassabian is Director of Postgraduate Research in the School of Music at the University of Liverpool, James and Constance Alsop Chair, and Editor of Music, Sound, and the Moving Image . She coedited the book Keeping Score: Music, Disciplinarity, Culture (1997) and has written numerous articles and book chapters on popular music, film music and feminist theory. Klappentext Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically. Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film.After outlining the history of film scoring and discussing some basic techniques, Kassabian focuses on contemporary film sound tracks and the issues that they raise. In A WOMAN SCORED, Kassabian analyzes desire and agency in the music of such films as Dangerous Liaisons, Dirty Dancing, and Thelma and Louise. In AT THE TWILIGHT'S LAST SCORING, she looks at gender, race, sexuality, and assimilation in the music of The Hunt for Red October, Lethal Weapon 2, and Indiana Jones and the Temple of Doom. And, finally, in OPENING SCORES, she considers how films such as Dangerous Minds, Mississippi Masala, and Corrina, Corrina represent the best in contemporary scoring. Zusammenfassung Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film. Also includes 11 musical examples. Inhaltsverzeichnis Table of Contents: Acknowledgments Listen for Identifications: A Prologue 1. How Film Music Works 2. How Music Works in Film 3. A Woman Scored 4. At the Twilight's Last Scoring 5. Opening Scores Tracking Identifications: An Epilogue Appendices Works Cited Videos Cited Endnotes Index...

Autorentext

Anahid Kassabian is Director of Postgraduate Research in the School of Music at the University of Liverpool, James and Constance Alsop Chair, and Editor of Music, Sound, and the Moving Image. She coedited the book Keeping Score: Music, Disciplinarity,*Culture* (1997) and has written numerous articles and book chapters on popular music, film music and feminist theory.

Klappentext

Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically. Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film.After outlining the history of film scoring and discussing some basic techniques, Kassabian focuses on contemporary film sound tracks and the issues that they raise. In A WOMAN SCORED, Kassabian analyzes desire and agency in the music of such films as Dangerous Liaisons, Dirty Dancing, and Thelma and Louise. In AT THE TWILIGHT'S LAST SCORING, she looks at gender, race, sexuality, and assimilation in the music of The Hunt for Red October, Lethal Weapon 2, and Indiana Jones and the Temple of Doom. And, finally, in OPENING SCORES, she considers how films such as Dangerous Minds, Mississippi Masala, and Corrina, Corrina represent the best in contemporary scoring.

Zusammenfassung
Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film. Also includes 11 musical examples.

Inhalt
Table of Contents: Acknowledgments Listen for Identifications: A Prologue 1. How Film Music Works 2. How Music Works in Film 3. A Woman Scored 4. At the Twilight's Last Scoring 5. Opening Scores Tracking Identifications: An Epilogue Appendices Works Cited Videos Cited Endnotes Index