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Despite the long history of music in film, its serious academic study is still a relatively recent development and therefore comprises a limited body of work. The contributors to this book, drawn from both film studies and musicology, attempt to rectify this oversight by investigating film music from the vibrant, productive, politically charged period before World War II. They apply a variety of methodologiesincluding archival work, close readings, political histories, and style comparisonto this under explored field.
Recenzijas
"Music became a key ingredient in the propaganda machines developed by the National Socialists and Stalin, an art both to regulate and exploit. Indeed, it is impossible to speak of film music in these countries during the early sound era without considering the political implications of compositional choice and the relationship between music and image." from the introduction
Papildus informācija
An innovative look into the intersection of film and music in Russia and Germany
Introduction
1
(19)
PART 1 GERMANY
Film Music in the Third Reich
19
(20)
Robert E. Peck
Herbert Windt's Film Music to Triumph of the Will: Ersatz-Wagner or Incidental Music to the Ultimate Nazi-Gesamtkunstwerk?
39
(15)
Reimar Volker
Alban Berg, Lulu, and the Silent Film
54
(21)
Marc A. Weiner
From Revolution to Mystic Mountains: Edmund Meisel and the Politics of Modernism
75
(18)
Christopher Morris
New Technologies and Old Rites: Dissonance between Picture and Music in Readings of Joris Ivens's Rain
93
(13)
Ed Hughes
``Composition with Film'': Mauricio Kagel as Filmmaker
106
(19)
Bjorn Heile
PART 2 THE USSR
Eisenstein's Theory of Film Music Revisited: Silent and Early Sound Antecedents
125
(23)
Julie Hubbert
Aleksandr Nevskiy: Prokofiev's Successful Compromise with Socialist Realism
148
(13)
Rebecca Schwartz-Bishir
In Marginal Fashion: Sex, Drugs, Russian Modernism, and New Wave Music in Liquid Sky
