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The Cambridge Companion to Film Music
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    The Cambridge Companion to Film Music
    • Online ISBN: 9781316146781
    • Book DOI: https://doi.org/10.1017/9781316146781
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Book description

This wide-ranging and thought-provoking collection of specially-commissioned essays provides a uniquely comprehensive overview of the many and various ways in which music functions in film soundtracks. Citing examples from a variety of historical periods, genres and film industries - including those of the USA, UK, France, Italy, India and Japan - the book's contributors are all leading scholars and practitioners in the field. They engage, sometimes provocatively, with numerous stimulating aspects of the history, theory and practice of film music in a series of lively discussions which will appeal as much to newcomers to this fascinating subject as to seasoned film music aficionados. Innovative research and fresh interpretative perspectives are offered alongside practice-based accounts of the film composer's distinctive art, with examples cited from genres as contrasting as animation, the screen musical, film noir, Hollywood melodrama, the pop music and jazz film, documentary, period drama, horror, science fiction and the Western.

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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.


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John Belton , 1999. ‘Awkward Transitions: Hitchcock's Blackmail and the Dynamics of Early Film Sound’, Musical Quarterly 83/2, 227–46

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Yayoi Uno Everett , 2010. ‘Infusing Modern Subjectivity into a Premodern Narrative Form: Masahiro Shinoda and Toru Takemitsu's Collaboration in Double Suicide (1968)’, Journal of Film Music 3/1, 37–49

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Stephen Glynn , 2013. The British Pop Music Film: The Beatles and Beyond, London: Palgrave Macmillan

Daniel Goldmark , 2005. Tunes for 'Toons: Music and the Hollywood Cartoon, Berkeley, Los Angeles and London: University of California Press

Douglas Gomery , 1976. ‘Tri-Ergon, Tobis-Klangfilm, and the Coming of Sound’, Cinema Journal 16/1, 51–61

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Andy Hamilton , 2007. ‘Music and the Aural Arts’, British Journal of Aesthetics 47/1, 46–63

Catherine Haworth , 2012. ‘Introduction: Gender, Sexuality, and the Soundtrack’, Music, Sound, and the Moving Image 6/2, 113–35

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Lea Jacobs , 2012. ‘The Innovation of Re-Recording in the Hollywood Studios’, Film History 24/1, 5–34

William A. Johnston , 1928. ‘The Public and Sound Pictures’, Transactions of the Society of Motion Picture Engineers 12/35, 614–19

Kelly Kessler , 2010. Destabilizing the Hollywood Musical: Music, Masculinity and Mayhem, Basingstoke, UK: Palgrave Macmillan

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Arthur Knight , 2002. Disintegrating the Musical: Black Performance and American Musical Film, Durham, NC: Duke University Press

Timothy Koozin , 2010. ‘Parody and Ironic Juxtaposition in Toru Takemitsu's Music for the Film Rising Sun ’, Journal of Film Music 3/1, 65–78

Daniela Kulezic-Wilson , 2011. ‘Soundscapes of Trauma and the Silence of Revenge in Peter Strickland's Katalin Varga ’, New Soundtrack 1, 57–71

Frank Martin Lehman , 2013a. ‘Transformational Analysis and the Representation of Genius in Film Music’, Music Theory Spectrum 35/1, 1–22

Neil Lerner , 2001. ‘Copland's Music of Wide Open Spaces: Surveying the Pastoral Trope in Hollywood’, Musical Quarterly 85/3, 477–515

Neil Lerner , 2005. ‘“Look at that big hand move along”: Clocks, Containment, and Music in High Noon ’, South Atlantic Quarterly 104/1, 151–73

Hannah Lewis , 2014. ‘“The Realm of Serious Art”: Henry Hadley's Involvement in Early Sound Film’, Journal of the Society for American Music 8/3, 285–310

Stan Link , 2004. ‘Sympathy with the Devil? Music of the Psycho Post-Psycho ’, Screen 45/1 (Spring), 1–20

Kate McQuiston , 2013. We'll Meet Again: Musical Design in the Films of Stanley Kubrick, New York: Oxford University Press

Ross Melnick , 2012. American Showman: Samuel ‘Roxy’ Rothafel and the Birth of the Entertainment Industry, New York: Columbia University Press

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Sergio Miceli , 2011. ‘Miceli's Method of Internal, External, and Mediated Levels: Elements for the Definition of a Film-Musical Dramaturgy’, ed. and trans. by Gillian B. Anderson with the assistance of Lidia Bagnoli , Music and the Moving Image 4/2, 1–29

Anna Morcom 2001. ‘An Understanding between Bollywood and Hollywood? The Meaning of Hollywood-style in Hindi Films’, British Journal of Ethnomusicology 10/1, 63‒84

K. F. Morgan , 1929. ‘Scoring, Synchronizing, and Re-Recording Sound Pictures’, Transactions of the Society of Motion Picture Engineers 13/38, 268–85

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Scott Murphy , 2014b. ‘A Pop Music Progression in Recent Popular Movies and Movie Trailers’, Music, Sound, and the Moving Image 8/2, 141–62

Joseph Nechvatal , 2011. Immersion Into Noise, Ann Arbor: M Publishing/Open Humanities Press

Richard Neer , 2007. ‘Godard Counts’, Critical Inquiry 34/1, 135–73

Bruno Nettl , 1989. ‘Mozart and the Ethnomusicological Study of Western Culture (an Essay in Four Movements)’, Yearbook for Traditional Music 21, 1–16

David Neumeyer , 2000. ‘Performances in Early Hollywood Sound Film: Source Music, Background Music, and the Integrated Sound Track’, Contemporary Music Review 19/1, 37–62

David Neumeyer , 2004. ‘Merging Genres in the 1940s: The Musical and the Dramatic Feature Film’, American Music 22/1, 122–32

Arndt Niebisch , 2012. Media Parasites in the Early Avant-Garde: On the Abuse of Technology and Communication, New York: Palgrave Macmillan

Daniel North , Bob Rehak and Michael Duffy , 2015. eds. Special Effects: New Histories, Theories, Contexts, London: British Film Institute

Nathan Platte , 2014. ‘Before Kong Was King: Competing Methods in Hollywood Underscore’, Journal of the Society for American Music 8/3, 311–37

Phil Powrie and Guido Heldt , 2014. ‘Introduction: Trailers, Titles, and End Credits’, Music, Sound, and the Moving Image 8/2 (special issue Trailers, Titles, and End Credits, ed. Powrie and Heldt ), 111–20

Tina K. Ramnarine , 2011. ‘Music in Circulation between Diasporic Histories and Modern Media: Exploring Sonic Politics in Two Bollywood Films Om Shanti Om and Dulha Mil Gaya ’, South Asian Diaspora 3/2, 143–58

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Donald Richie , 2002. ‘Notes on the Film Music of Tōru Takemitsu’, Contemporary Music Review 21/4, 5–16

Michael Rogin , 1992. ‘Blackface, White Noise: The Jewish Jazz Singer Finds His Voice’, Critical Inquiry 18/3, 417–53

Miriam Sheer , 2001. ‘The Godard/Beethoven Connection: On the Use of Beethoven's Quartets in Godard's Films’, Journal of Musicology 18/1, 170–88

Craig Sinclair , 2003. ‘Audition: Making Sense of/in the Cinema’, Velvet Light Trap 51 (Spring 2003), 17–28

Michael Slowik , 2014. After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934, New York: Columbia University Press

Vivian Sobchack , 2005. ‘When the Ear Dreams: Dolby Digital and the Imagination of Sound’, Film Quarterly 58/4, 2–15

Andrew Spicer and Helen Hanson , 2013. eds. A Companion to Film Noir, Chichester: Blackwell Publishing Ltd.

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James Wierzbicki , 2010. ‘Lost in Translation? Ghost Music in Recent Japanese Kaidan Films and Their Hollywood Remakes’, Horror Studies 1/2, 193–205

Ben Winters , 2008. ‘Corporeality, Musical Heartbeats, and Cinematic Emotion’, Music, Sound, and the Moving Image 2/1, 3–25

Ben Winters , 2010. ‘The Non-Diegetic Fallacy: Film, Music, and Narrative Space’, Music & Letters 91/2, 224–44

Ben Winters , 2012. ‘Musical Wallpaper? Towards an Appreciation of Non-narrating Music in Film’, Music, Sound, and the Moving Image 6/1, 39–54

Dan Yacavone , 2012. ‘Spaces, Gaps, and Levels: From the Diegetic to the Aesthetic in Film Theory’, Music, Sound, and the Moving Image 6/1, 21–37

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