Music, Authorship, Narration, and Art Cinema in Europe

Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation.

Autorentext

Michael Baumgartner is Associate Professor of Musicology, Cleveland State University.

Ewelina Boczkowska is Professor of Musicology, Youngstown State University.

Zusammenfassung
Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation.

Inhalt

Part 1: Cinematic Collaborations and the Questioning of the Auteur Style Through Music

1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles

Laura Anderson

2. Palimpsest, Mediation, Déjà entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita

Emilio Sala

3. Michael Nyman and the Development of an Art House Musical Aesthetic

Pwyll ap Siôn

Part 2: Music and Narration: The Meaning Beyond the Text

4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine

Joan Titus

5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living

Roberto Calabretto

Part 3: Music as Cinematic Metaphor in a Repressed Political System

6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 195585

Dominique Nasta

7. Echoes of Catastrophe: Music in Films of The Polish School

Iwona Sowiska

8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975)

Karen Poe Lang