Music, Narrative and the Moving Image

Varieties of Plurimedial Interrelations
Erscheinungsjahr 2019
ISBN: 978-90-04-39904-4
Verlag: Brill

Buch, Englisch, Band 17, 254 Seiten, Format (B × H): 160 mm x 239 mm, Gewicht: 567 g

Reihe: Word and Music Studies

In extending the traditional field of Word and Music Studies to include research on film and other forms of moving visualizations, this volume focuses on innovative discussions of artistic works showing relationships between three individual communicative media.

This trifocal, interdisciplinary perspective is reflected in seventeen essays that cover the historical space from the 19th to the 21st centuries and discuss a wide variety of individual genres in the represented media. These range from Parisian cabaret to ‘revolutionary’ Peking opera, from silent film to Holocaust narration, from documentary propaganda movies to opera film interludes, and more. The investigation of historical cases is broadened by reflections on theoretical and functional issues, primarily in film music, which show a remarkable breadth of technical and perceptual varieties.

The essays here collected are of relevance to scholars and students of film studies, musicology, and literature, as well as readers generally interested in Intermediality Studies.

Autoren/Hrsg.

Weitere Mitwirkende

Bernhart, Walter

Urrows, David Francis

Fachgebiete

• Geisteswissenschaften Literaturwissenschaft Literaturwissenschaft
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein

Inhaltsverzeichnis

Preface

Part 1

Section 1: Film Music: Reflections on Functions

1 Music’s Body and the Moving Image

Lawrence Kramer

2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving Images

Saskia Jaszoltowski

3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman Show

Werner Wolf

4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic Model

Jordan Carmalt Stokes

Section 2: Film Music: Significant Intermedial Cases

5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni’s Rapsodia Satanica (1915)

Bernhard Kuhn

6 Humanized Documentary, “Light” Verse, and Music Made to Fit: G.P.O. Film Unit/Auden/Britten’s Night Mail (1936)

Walter Bernhart

7 An Incarnation of Memory: Song as Absence in Claude Lanzmann’s Shoah

Ruth Jacobs

8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan’s Winter Sleep

Heidi Hart

9 Mise en scène, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski’s Ida

Christopher Booth

Part 2: Intermedial Varieties

10 Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre

Peter Dayan

11 ‘The Big Turnaround in the Middle’: On the Silent Movie and the Film Music Interlude in Alban Berg’s Opera Lulu

Marion Recknagel

12 All the Pieces Matter: On Complex TV Music

Frieder von Ammon

13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across Media

Emily Petermann

Part 3: Remediations

14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten’s Juan

Axel Englund

15 Novel, Woodcuts, Film, Music …: Pondering over the Title of Gara Garayev’s Symphony Engravings “Don Quixote”

Alla Bayramova

16 Film as Opera: Three Perspectives on Still Life and Brief Encounter

Michael Halliwell

17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil?

David Francis Urrows

List of Figures

Notes on Contributors

Index

Über Autor(innen)

Walter Bernhart, retired Professor of English Literature at the University of Graz, Austria, is president of The International Association for Word and Music Studies (WMA) and editor of two Brill book series. His collected Essays on Literature and Music (1985–2013) were published in 2015.

David Francis Urrows is a historical musicologist and composer. He taught at Hong Kong Baptist University, where he established The Pipe Organ in China Project (www.organcn.org), and is editor of the critical edition of the works of Otto Dresel (1826–1890).