Popular Music and the New Auteur looks at seven contemporary directors whose feature films are characterized by music-video aesthetics. Demonstrating a fresh kind of cinematic musicality, these filmmakers write against music rather than against script, and allow pop songs a determining role in narrative and imagery.
Popular Music and the New Auteur looks at seven contemporary directors whose feature films are characterized by music-video aesthetics. Demonstrating a fresh kind of cinematic musicality, these filmmakers write against music rather than against script, and allow pop songs a determining role in narrative and imagery.
Arved Ashby is Professor of Music at The Ohio State University, where he teaches courses on 19th-, 20th-, and 21st-century music in contexts of cultural history, critical theory, post-Marxist aesthetics, and media and communications. He is editor of Listening to Modernism: Intention, Meaning, and the Compositional Avant-garde (Rochester, 2004) and author of Absolute Music, Mechanical Reproduction (California, 2010)
Inhaltsangabe
* Table of Contents * Introduction / Arved Ashby * Music and Cinematic Time * 1. "Without Music I Would Be Lost": Scorsese, Goodfellas, and a New Soundtrack Practice / Julie Hubbert * 2. Lost in Translation: Popular Music and The Melodramatic Mode of Sofia Coppola / Tim Anderson * Music and the Image * 3. A Musical Tour of the Bizarre: Popular Music as Fantasy in David Lynch / Gene Willet * 4. Songs of Delusion: Popular Music and the Aesthetics of the Self in Wong Kar-wai's Cinema / Giorgio Biancorosso * Music as Instrument of Irony and Authenticity * 5. O Brother Where Chart Thou?: Pop Music and the Coen Brothers / Jeff Smith * 6. You've Heard This One Before: Quentin Tarantino's Scoring Practices from Kill Bill to Inglourious Basterds / Ken Garner * 7. Wes Anderson, Ironist and Auteur / Arved Ashby * Bibliography * Index
* Table of Contents * Introduction / Arved Ashby * Music and Cinematic Time * 1. "Without Music I Would Be Lost": Scorsese, Goodfellas, and a New Soundtrack Practice / Julie Hubbert * 2. Lost in Translation: Popular Music and The Melodramatic Mode of Sofia Coppola / Tim Anderson * Music and the Image * 3. A Musical Tour of the Bizarre: Popular Music as Fantasy in David Lynch / Gene Willet * 4. Songs of Delusion: Popular Music and the Aesthetics of the Self in Wong Kar-wai's Cinema / Giorgio Biancorosso * Music as Instrument of Irony and Authenticity * 5. O Brother Where Chart Thou?: Pop Music and the Coen Brothers / Jeff Smith * 6. You've Heard This One Before: Quentin Tarantino's Scoring Practices from Kill Bill to Inglourious Basterds / Ken Garner * 7. Wes Anderson, Ironist and Auteur / Arved Ashby * Bibliography * Index
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