Publisher Description

Movie Music, the Film Reader argues for a broader understanding of the role of music in film, looking beyond the soundtrack and into the production and replication of a set of values which music and musicians carry with them into the narrative and formal aspects of film. Bringing together material from the areas of documentary, fandom and animation, the Reader comprises an important first collection of writings about film music. Movie Music, the FIlm Reader is divided into four sections, each with an introduction by the editor. The Place of the Song; The Formal Politics of Music on Film; and Crossing Over into the Narrative. Essays in The Meanings of the Score look at instrumental scores, their production and reception, and question the onscreen power of the nineteenth century classical genre. The Place of the Song turns to popular music, asking how the pop score supports the film narrative. Formal Politics of Music on Film considers the subversive power of film music, and in Crossing Over Into the Narrative articles address the use of musicians within film narratives, from rockumentaries to pop-stars-as-movie-stars, such as Madonna in Desperately Seeking Susan.Theodor Adorno, Tim Anderson, UC Berkeley, Philip Brophy, RMIT University. Australia, Kay Dickinson, Middlesex University, Alexander Doty, Lehigh University Hanns

Back Cover

Bringing together material from the areas of documentary, fandom and animation, Movie Music, the Film Reader comprises an important first collection of writings about film music. It is divided into four sections, each with an introduction by the editor. Essays in The Meanings of the Score look at instrumental scores, their production and reception, and questions the onscreen power of the nineteenth century classical genre. The Place of the Song turns to popular music, asking how the pop score supports the film narrative. Formal Politics of Music on Film considers the subversive power of film music, and in Crossing Over Into the Narrative articles address the use of musicians within film narratives, from rockumentaries to pop-stars-as-movie-stars, such as Madonna in Desperately Seeking Susan .

Author Biography

Kay Dickinson

Table of Contents

1. How Music Works in Film Kassabian 2.Why Music? The Sound Film and its Spectator GorbmanN 3. Suggestions and Conclusions Adorno and Eisler 4. Reforming 'Jackass music': the Problematic Aesthetics of Early Film Music Accompaniment' Anderson 5. (Re) new (ed) Conservatism in Film Marketing Doty 6. My Huckleberry Friend Smith 7. Cinema, Postmodernity and Authenticity Grossberg 8. The Animation of Sound Brophy 9. Whose Jazz, Whose Cinema? Gabbard 10. Hollywood and the Challenge of the Youth Market Mundy 11. Pop, Speed and the MTV aesthetic Kay Dickinson 12. Gender, Power, and a Cucumber: Satirising Masculinity in This is Spinal Tap Plantinga 13. (Pass Through) The Mirror Moment and Don't Look Back : Music and Gender in a Rockumentary Knobloch 14. Manufacturing Authenticity: Imagining the Music Industry in Anglo-American Cinema Keightley 15. Five Fan Events Lewis

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