The musicality of narrative film / Danijela Kulezic-Wilson.
Film is often compared to music, explained by the use of musical terms and even conceived and structured using music as a model. The Musicality of Narrative Film is the first book to offer an in-depth examination of the film/music analogy through comparative analysis of both arts' common denomi...
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Full Text (via Springer) |
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| Format: | eBook |
| Language: | English |
| Published: |
[Basingstoke] :
Palgrave Macmillan,
2015.
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| Series: | Palgrave studies in audio-visual culture.
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Table of Contents:
- 1. Introduction
- 2. Music as Model and Metaphor
- 3. The Musicality of Film Rhythm
- 4. The Rhythm of Rhythms
- 5. Musical and Film Kinesis
- 6. The Symbolic Nature of Musical and Film Time
- 7. Jim Jarmusch's "Dead Man" and the Rhythm of Musical Form
- 8. Hip Hop and Techno Composing Techniques and Models of Structuring in Darren Aronofsky's "p"
- 9. Audio-Visual Musicality and Reflexivity in Joe Wright's "Anna Karenina"
- Conclusion.
- Machine generated contents note: pt. I Topography of Film Musicality
- 1. Introduction
- What is musical(ity)-- musicality of film as metaphor
- Musical poetics of film
- 2. Music as Model and Metaphor
- Tracing the origins of contemporary film/music analogies
- Film's musical potential and contemporary film music practice
- influence of MTV
- pt. II Comparative Analysis of Music and Film
- 3. Musicality of Film Rhythm
- Music rhythm and its reflection in aspects of film rhythm
- Rhythm, metre and Gestalt laws of perception
- Rhythm of the shot and the cut
- 4. Rhythm of Rhythms
- Macro-rhythm and issues of perception
- immersive power of form
- Repetition as a structural and a musical device
- power of patterns
- musicality of narrative and editing patterns
- 5. Musical and Film Kines
- illusion of movement
- Musical movement within a shot
- Musical movement of editing
- Audio-visual motion and emotion
- kinesis of audio-visual interaction
- musicality of cinema action
- 6. Symbolic Nature of Musical and Film Time
- Time in music and film
- Philosophical and spiritual dimensions of linear and nonlinear time in music and film
- Multiple temporalities in music and film
- Time as a symbol
- Music as a portal into the multiple temporalities of the Lynchian universe
- pt. III Case Studies
- 7. Jim Jarmusch's Dead Man and the Rhythm of Musical Form
- From cool to political, spiritual and musical
- Structural rhythm
- Rhythm of silence and sound
- Micro-rhythm
- Rhythm of time, space and motion
- Affective rhythm
- 8. Hip Hop and Techno Composing Techniques and
- Models of Structuring in Darren Aronofsky's π
- Paranoid filmmaking as an inspiration for paranoid analysis
- patterns
- Hip hop editing
- Audio-visual kinesis and musical patterning
- Techno flow
- 9. Audio-Visual Musicality and Reflexivity in Joe Wright's Anna Karenina
- Love and lust
- Opposites, gaps and the porous borders between them
- Flowing movement, morphing desires
- Nuts, bolts and invisible joints
- powers of fate
- 1. Arrival
- 2. Reckless Rebel
- 3. Promise of the Future
- 4. New Directions
- 5. Safe in the Park
- 6. Forward Motion
- 7. Episodic Television
- 8. Drive Away
- 9. Outlaws to Make You Smile
- 10. Natural Rhythms
- 11. Hope and Despair
- 12. Sudden Compulsion
- 13. Puzzlement
- 14. Life in the Shadow
- 15. Ripples Through Time
- 16. Fractured Image
- 17. Testimony
- 18. Doorway to Transcendence
- 19. Fact and Fiction.