Beyond the Soundtrack

University of California Press

2007

333 p.

Ahmanson Foundation book in the humanities

Includes bibliographical references, filmography, and index

9780520940550

Front matter -- Contents -- Illustrations -- Introduction. Phonoplay: Recasting Film Music -- 1. The Boy On The Train, Or Bad Symphonies And Good Movies: The Revealing Error Of The "Symphonic Score" -- 2. Representing Beethoven: Romance And Sonata Form In Simon Cellan Jones's Eroica -- 3. Minima Romantica -- 4. Melodic Trains: Music In Polanski's The Pianist -- 5. Mute Music: Polanski's The Pianist And Campion's The Piano -- 6. Opera, Aesthetic Violence, And The Imposition Of Modernity: Fitzcarraldo -- 7. Sight, Sound, And The Temporality Of Myth Making In Koyaanisqatsi -- 8. How Sound Floats On Land: The Suppression And Release Of Folk And Indigenous Musics In The Cinematic Terrain -- 9. Auteur Music -- 10. Transport And Transportation In Audiovisual Memory -- 11. The Fantastical Gap Between Diegetic And Nondiegetic -- 12. Early Film Themes: Roxy, Adorno, And The Problem Of Cultural Capital -- 13. Before Willie: Reconsidering Music And The Animated Cartoon Of The 1920's -- 14. Side By Side: Nino Rota, Music, And Film -- 15. White Face, Black Noise: Miles Davis And The Soundtrack -- 16. Men At The Keyboard: Liminal Spaces And The Heterotopian Function Of Music -- Notes On Contributors -- Works Cited -- Index Of Films Cited -- Index Of Names

This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to the image in shaping the experience of film. Refuting the familiar idea that music serves as an unnoticed prop for narrative, these essays demonstrate that music is a fully imagined and active power in the worlds of film. Even where films do give it a supporting role-and many do much more-music makes an independent contribution. Drawing on recent advances in musicology and cinema studies, Beyond the Soundtrack interprets the cinematic representation of music with unprecedented richness. The authors cover a broad range of narrative films, from the "silent" era (not so silent) to the present. Once we think beyond the soundtrack, this volume shows, there is no unheard music in cinema

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