作者：MervynCooke
出版社：CambridgeUniversityPress
副标题：电影音乐史
出版年：2008-09-30
页数：584
定价：USD24.99
装帧：Paperback
ISBN：9780521010481
内容简介
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Mervyn Cooke provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer’s working practices.
Contents
List of illustrations page xi
Preface and acknowledgements xv
1 The ‘silent’ cinema 1
Why sound? 1
Why music? 4
The birth of film music 7
Categories of film music 9
Camille Saint-Saëns and film d’art 14
Cue sheets and anthologies 15
Venues and ensembles 18
Photoplayers and cinema organs 21
Music for silent epics 23
Charlie Chaplin and music for comedies 27
Early film music in Europe and the Soviet Union 30
Postlude: the silent-film revival 37
2 Sound on track 42
A sound debate 43
New technology 47
Photographing sound 52
Animated sound 58
Creative possibilities 59
3 Hollywood’s Golden Age: narrative cinema and the classical film score 67
The studio system 69
Practicalities 73
Style 78
Wagner and the filmic leitmotif 80
Structure 83
Max Steiner 87
Erich Wolfgang Korngold 93
Franz Waxman: horror and sophistication 98
Alfred Newman 103
Miklós Rózsa, Roy Webb and David Raksin: film noir and the music of psychological drama 108
Dimitri Tiomkin and others 119
Aaron Copland and the sounds of America 123
4 Stage and screen 131
Opera on film 132
Film in opera; opera in film 141
The film musical 145
Scoring Shakespeare 166
5 The mainstream divides: post-war horizons in Hollywood 183
The epic and the intimate 187
Modernism 194
Bernard Herrmann: the composer as auteur 201
Jazz and its influence 212
6 ‘Never let it be mediocre’: film music in the United Kingdom 226
Visitors from abroad 231
Ralph Vaughan Williams 234
Brian Easdale, William Alwyn and Benjamin Frankel 237
William Walton and Malcolm Arnold 248
Generic (re)takes: horror and comedy 253
End of an era 258
7 Defectors to television 265
THE DOCUMENTARY FILM 266
Hanns Eisler 268
Documentaries in the United States 271
Information films in the United Kingdom 273
The movies at war: reportage and propaganda 278
Theatrical documentaries for the modern age 283
ANIMATION 287
Cartoon music in the silent era 288
Walt Disney and the animated musical 290
Warner Bros. and MGM: comic shorts 294
Classical music 298
Migration to the small screen 301
Experimental animation 303
Animation in Europe 306
8 Film music in France 309
Symphony and song 310
The 1930s: Maurice Jaubert and Joseph Kosma 312
Georges Auric and others 316
Nouvelle vague 319
Jean-Luc Godard 321
François Truffaut 326
French modernism 328
At home and abroad 332
Poles apart: Krzysztof Kieślowski and Zbigniew Preisner 338
9 Global highlights 342
EARLY SOUND F ILMS IN THE SOVIET UNION 342
Dmitri Shostakovich 342
Vsevolod Pudovkin and Yuri Shaporin 345
Sergei Eisenstein and Sergei Prokofiev 347
INDIA: BOLLYWOOD AND BEYOND 353
Early Indian cinema 354
Successes abroad: Ravi Shankar and Satyajit Ray 356
Modern commercial cinema 361
FROM ITALY TO LITTLE ITALY 365
Federico Fellini, Nino Rota and the circus of life 366
Ennio Morricone and the spaghetti western: eccentricity and populism 371
Italians abroad 376
JAPAN 382
Traditional elements in silent and early sound films 382
The films of Yasujiro Ozu and Akira Kurosawa 384
Tōru Takemitsu 389
Modern composers, modern genres 392
10 Popular music in the cinema 396
Music of youth and race 398
Title songs and interpolated songs 405
Compilation scores and original song scores 408
Synergistic marketing 415
Pop (stars) in performance 418
11 Classical music in the cinema 422
Romantic concerto and war film 425
Classical biopics and milieu films 429
Period, nationality, class 437
Stanley Kubrick 440
Back to Bach 448
12 State of the art: film music since the New Hollywood 454
John Williams and the new symphonism 456
Electronics, sound technology and recording 467
Pop scoring, dual tracking and the modern soundtrack album 474
Minimalism 478
Modern auteurs: Martin Scorsese, Quentin Tarantino and David Lynch 483
The modern mainstream 489
The global and the glocal 503
Bibliography 511
Index of film titles 530
General index 547
作者简介
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Mervyn Cooke是英国诺丁汉大学音乐学教授。这本电影音乐史视野较为广阔，从美国，到英国、意大利、法国、苏联等国电影音乐都有述及
评论 ······
Max Steiner、Erich Korngold、Franz Waxman、Alfred Newman、Miklós Rózsa、Dimitri Tiomkin、Bernard Herrmann、Ralph Williams……所以80s之前都是有清晰的时间线的，80s之后音乐流派也井喷世界电影也井喷，无声电影刷一本就够了TV出来黄金年代之后的电影理论不知道刷几本才能有清晰的脉络感。这么想的话…
读完1/3已死
Max Steiner、Erich Korngold、Franz Waxman、Alfred Newman、Miklós Rózsa、Dimitri Tiomkin、Bernard Herrmann、Ralph Williams……所以80s之前都是有清晰的时间线的，80s之后音乐流派也井喷世界电影也井喷，无声电影刷一本就够了TV出来黄金年代之后的电影理论不知道刷几本才能有清晰的脉络感。这么想的话…
读完1/3已死
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