This book offers a fresh approach to British film music by tracing the influence of Britain's musical heritage on the film scores of this era. From the celebration of landscape and community encompassed by pastoral music and folk song, and the connection of both with the English Musical Renaissance, to the mystical strains of choral sonorities and the stirring effects of the march, this study explores the significance of music in British film culture. With detailed analyses of the work of such key filmmakers as Michael Powell and Emeric Pressburger, Laurence Olivier and Carol Reed, and composers including Ralph Vaughan Williams, William Walton and Brian Easdale, this systematic and in-depth study explores the connotations these musical styles impart to the films and considers how each marks them with a particularly British inflection.

Explores how British films from the 1930s to the 1950s draw upon the heritage of British music by employing a range of historically significant musical styles and types in their scores Uncovers the connection between British film music and the Victorian campaign to raise the quality and appreciation of British art music that resulted in what has been dubbed the English Musical Renaissance Builds upon and extends earlier scholarship to bring to light previously unexplored aspects of film music practice in the British industry

Autorentext

Paul Mazey is an Associate Teacher of Film and Television at the University of Bristol, UK. He has published articles on British film music in the Journal of British Cinema & Television and Revenant journal.

Klappentext

Inhalt
Introduction.- 1. The Aesthetic Conventions of British Film Music.- 2. Pastoral Music.- 3. Folk Song.- 4. Choral Music.- 5. March Music.- Conclusion.