Michael Baumgartner

Metafilm Music in Jean-Luc Godard's Cinema (eBook, PDF)

• Format: PDF

Produktbeschreibung

Hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, Jean-Luc Godard is a prominent pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image, but his achievements in sound have been largely overlooked. Such a lacuna in the extensive research on Godard's work is unfortunate, as Godard's lifelong preoccupation of exploring self-reflexively all aspects of filmmaking particularly affects film music. With the novel approach of metafilm music, extrapolated from Jean-Luc Godard's oeuvre, this book not only closes up a crucial gap in Godard research, but also offers detailed analyses of the music as metafilm music in Contempt, Alphaville, Band of Outsiders, Pierrot le fou, First Name: Carmen, Histoire(s) du cin?ma, among other films and video productions. The innovative scholarly concept of metafilm music, enriching the burgeoning field of music in audio-visual media, describes how Godard thinks about film music with film music. This book thus provides a thorough examination of Godard's self-reflexive approach to film music which has resulted in a lifelong creation of multi-layered soundtracks pushing the envelope of film music and sound to the limit.

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Produktdetails

• Verlag: Oxford University Press
• Seitenzahl: 240
• Erscheinungstermin: 24. Mai 2022
• Englisch
• ISBN-13: 9780190497187
• Artikelnr.: 63986433

Autorenporträt

Michael Baumgartner teaches at Cleveland State University. His research focuses on music in relation to cinema, theater, and visual arts, music of the twentieth and twenty-first centuries, and the exploration of the narrative capacity of music. He is the author of the monograph Exilierte Göttinnen: Frauenstatuen im Bühnenwerk von Kurt Weill, Thea Musgrave und Othmar Schoeck (2012) and the co-editor of the three anthologies Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War; Music, Ideology, Commerce, and Popular Cinema in Europe: 1940s to 1980s; and Music, Process, Narration, and Art Cinema in Europe: 1940s to 1980s (2020-22).

Inhaltsangabe

* Introduction: For Ever Metafilm Music
* PART I: METAFILM MUSIC, FRAGMENTATION, REPETITION, AND QUOTATION
* 1. Gapped Music in Godard's 1960s Films: Dissection of the Musical
Unity as a Self-Reflexive Exercise
* 2. Leitmotif Technique Revisited: Indexical Function of Multiply
Repeated Musical Fragments in Godard's 1960s Films as Manifestations
of Metafilm Music
* 3. The Undoing of the Leitmotif Technique: Quotation, Fragmentation,
and Repetition in Godard's 1960s Films with Beethoven, Schumann, and
Pseudo-Bach as Metafilm Music
* 4. Quoting Popular Songs: Chanson and Canzone as Metafilm Music in
Godard's Work
* PART II: METAFILM MUSIC AND GENRE REFERENCE
* 5. Referencing Silent Film Music: Metafilm Music, Mise en Scène,
Acting, and Storytelling
* 6. Referencing Music-Specific Genres and Genre-Specific Music:
Metafilm Music, "Cinéma-en-kit" Musical, and Pastiched Film Noir
Music
* 7. Referencing Film Music as a Genre: Metafilm Music, Prototypes of
Film Music as Genre Mash-Up, and Melodramatic Commutation
* PART III: METAFILM MUSIC, MUSIC MAKING, AND FILMMAKING
* 8. Music-Making as Metaphor for Filmmaking I: Metafilm Music in One
Plus One and Prénom: Carmen
* 9. Music-Making as Metaphor for Filmmaking II: Metafilm Music in
Soigne ta droite (Une place sur la terre)
* Conclusion: Two or Three Things I Know about Metafilm Music(s)
* Notes
* Works Cited
* Index