This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives. In this sense, the book responds to a need for an anthology that introduces students as well as scholars of cinema, musicology, media studies and cultural studies more broadly, to recent discourses in film music scholarship. The volume includes contributions by early career researchers as well as by established experts in the fields of musicology, film studies, media studies, and cultural studies, promoting cross-disciplinary collaboration in film music research.

Combines and updates several of the most recent key theoretical approaches and discourses in film music research Extensive coverage of the topic of 'musical moments' in global cinemas Will appeal to both film scholars and musicologists This book is open access, with support of the Austrian Science Fund, which means that you have free and unlimited access

Autorentext

Anna K. Windisch is a film scholar who gained her PhD in Theatre, Film and Media Studies at the University of Vienna, Austria, and completed a postdoctoral position at the Austrian Academy of Sciences.

Claus Tieber is Principal Investigator of the research project "Screenwriting musical numbers" in the Department of Theater, Film and Media Studies at the University of Vienna, Austria.

Phil Powrie is Professor of Cinema Studies at the University of Surrey, UK, where he was Executive Dean of the Faculty of Arts and Human Sciences 2010-2015.

Klappentext

This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives. In this sense, the book responds to a need for an anthology that introduces students as well as scholars of cinema, musicology, media studies and cultural studies more broadly, to recent discourses in film music scholarship. The volume includes contributions by early career researchers as well as by established experts in the fields of musicology, film studies, media studies, and cultural studies, promoting cross-disciplinary collaboration in film music research.

Inhalt

1. Introduction.- Part I. What the Musical Moment Can Do - Theoretical Approaches.- 2. The Musical Moment, Counter-Memory, Oblivion.- 3. The Crystal Song in four American Films from 2016 to 2018.- 4. Seriously Funny: Comedy, Performance and the Musical Moment in Toni Erdmann (2016).- 5. Experiencing Romance in Musical Moments.- Part II. How the Musical Moment was Created Musical Numbers in Silent Cinema.- 6. Film's First Musical Moment: The Dickson Experimental Sound Film, 1895.- 7. The Musical Moment in three Silent Films by Jacques Feyder: Narrative Vector or Emotional Catalyst?.- 8. A Waltz Dream : Musical Moments in Silent Operetta Films.- 9. Silent Movie Music(ians) on Screen: How Four Films Made Period Practices Audible and Visible.- Part III. Musical Dis/Placements Musical Moments in Global Cinema.- 10. Musical Numbers in Bollywood Cinema's Homeland and Diaspora.- 11. Envisioning Chinese Musicals in the Era of Sound: Sound Cinema, the Songstress, and the Emergence of Mandarin Chinese Film Musicals, 1920s-1930s.- 12. De-Gendering Genre: Mayuzumi Toshir's Avant-Garde Music in Popular Cinema.-13. Music in Nollywood Films: Schools of Thought and Performance Contexts.- 14. Redemption Songs: Musical Moments in Flora Gomes's Nha Fala (2002) and Joseph Gaï Ramaka's Karmen Geï (2001).- 15. No hay nada que celebrar: Migration, Violence, and Musical Moments in Luis Estrada's El Infierno (2010).
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