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Adopting an interdisciplinary approach, The Visual Music Film explores the concept and expression of musicality in the visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony.
Adopting an interdisciplinary approach, The Visual Music Film explores the concept and expression of musicality in the visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony.
Dr. Aimee Mollaghan is a senior lecturer and the programme leader for undergraduate Film Studies and Film Studies with Film Production at Edge Hill University in England. Her research interests focus on interdisciplinary explorations of sound and music in film and animation and she has published several book chapters and articles in this area. She is also the reviews editor for animation: an interdisciplinary journal.
Inhaltsangabe
List of Figures List of Tables Acknowledgements Introduction 1. Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 2. The Formal Absolute in the Visual Music Film 3. The Spiritual Absolute in the Visual Music Film 4. Experimentation and Technological Innovation 5. Conceptions of Harmony in the Work of John Whitney Conclusion Bibliography Index
List of Figures List of Tables Acknowledgements Introduction 1. Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 2. The Formal Absolute in the Visual Music Film 3. The Spiritual Absolute in the Visual Music Film 4. Experimentation and Technological Innovation 5. Conceptions of Harmony in the Work of John Whitney Conclusion Bibliography Index
List of Figures List of Tables Acknowledgements Introduction 1. Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 2. The Formal Absolute in the Visual Music Film 3. The Spiritual Absolute in the Visual Music Film 4. Experimentation and Technological Innovation 5. Conceptions of Harmony in the Work of John Whitney Conclusion Bibliography Index
List of Figures List of Tables Acknowledgements Introduction 1. Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 2. The Formal Absolute in the Visual Music Film 3. The Spiritual Absolute in the Visual Music Film 4. Experimentation and Technological Innovation 5. Conceptions of Harmony in the Work of John Whitney Conclusion Bibliography Index
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