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Music, sound and filmmakers : sonic style in cinema / edited by James Wierzbicki.

Contributor(s): Material type: TextTextLanguage: English Series: Routledge music and screen media seriesPublisher: London, England : Zed Books, 2012Distributor: [London, England] : Bloomsbury Publishing, 2021Edition: First editionDescription: 227 pagesISBN:
  • 9780415898942
Subject(s):
Contents:
Sonic Style in Cinema — Music, Sound, and Silence in the Films of Ingmar Bergman — Andrey Tarkovsky; The Refrain of the Sonic Fingerprint — “It’s All Really Happening”: Sonic Shaping in the Films of Wes Anderson — Kieślowski’s musique concrète — Gus Van Sant’s Soundwalks and Audio-visual musique concrète — Blowin’ in the Wind: Music and Meaning in the Coen Brothers’ Films — Sound and Uncertainty in the Horror Films of the Lewton Unit — Conducting the Composer: David O. Selznick and the Hollywood Film Score — The Stanley Kubrick Experience: Music, Firecrackers, Disorientation, and You — The Filmmaker’s Contract: Controlling Sonic Space in the Films of Peter Greenaway — The Attractions of Repetition: Tarantino’s Sonic Style — Dream Timbre: Notes on Lynchian Sound Design.
Chapter 8 Sound and Uncertainty in the Horror Films of the Lewton UnitChapter 9 Conducting the Composer: David O -- . Selznick and the Hollywood Film Score; Chapter 10 The Stanley Kubrick Experience: Music, Nuclear Bombs, Disorientation, and You; Chapter 11 The Filmmaker's Contract: Controlling Sonic Space in the Films of Peter Greenaway; Chapter 12 The Attractions of Repetition: Tarantino's Sonic Style; Chapter 13 Dream Timbre: Notes on Lynchian Sound Design; Lists of Contributors; Bibliography; Index.
Summary: Music, Sound and Filmmakers: Sonic Style in Cinema is a collection of essays that examine the work of filmmakers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of directors Wes Anderson, Ingmar Bergman, the Coen brothers, Peter Greenaway, Krzysztof Kieślowski, Stanley Kubrick, David Lynch, Quentin Tarantino, Andrey Tarkovsky and Gus Van Sant. Significantly, the anthology includes a discussion of films administratively controlled by such famously sound-conscious producers as David O. Selznick and Val Lewton. Written by the leading film music scholars from Europe, North America, and Australia, Music, Sound and Filmmakers: Sonic Style in Cinema will complement other volumes in Film Music coursework, or stand on its own among a body of research.
Holdings
Item type Current library Call number Copy number Status Notes Date due Barcode
Book TBS Barcelona ML2075.M87 MUS (Browse shelf(Opens below)) 1 Available SOON AVAILABLE

Includes bibliographical references and index.

Sonic Style in Cinema — Music, Sound, and Silence in the Films of Ingmar Bergman — Andrey Tarkovsky; The Refrain of the Sonic Fingerprint — “It’s All Really Happening”: Sonic Shaping in the Films of Wes Anderson — Kieślowski’s musique concrète — Gus Van Sant’s Soundwalks and Audio-visual musique concrète — Blowin’ in the Wind: Music and Meaning in the Coen Brothers’ Films — Sound and Uncertainty in the Horror Films of the Lewton Unit — Conducting the Composer: David O. Selznick and the Hollywood Film Score — The Stanley Kubrick Experience: Music, Firecrackers, Disorientation, and You — The Filmmaker’s Contract: Controlling Sonic Space in the Films of Peter Greenaway — The Attractions of Repetition: Tarantino’s Sonic Style — Dream Timbre: Notes on Lynchian Sound Design.

Chapter 8 Sound and Uncertainty in the Horror Films of the Lewton UnitChapter 9 Conducting the Composer: David O -- . Selznick and the Hollywood Film Score; Chapter 10 The Stanley Kubrick Experience: Music, Nuclear Bombs, Disorientation, and You; Chapter 11 The Filmmaker's Contract: Controlling Sonic Space in the Films of Peter Greenaway; Chapter 12 The Attractions of Repetition: Tarantino's Sonic Style; Chapter 13 Dream Timbre: Notes on Lynchian Sound Design; Lists of Contributors; Bibliography; Index.

Music, Sound and Filmmakers: Sonic Style in Cinema is a collection of essays that examine the work of filmmakers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of directors Wes Anderson, Ingmar Bergman, the Coen brothers, Peter Greenaway, Krzysztof Kieślowski, Stanley Kubrick, David Lynch, Quentin Tarantino, Andrey Tarkovsky and Gus Van Sant. Significantly, the anthology includes a discussion of films administratively controlled by such famously sound-conscious producers as David O. Selznick and Val Lewton. Written by the leading film music scholars from Europe, North America, and Australia, Music, Sound and Filmmakers: Sonic Style in Cinema will complement other volumes in Film Music coursework, or stand on its own among a body of research.

English

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