Planet of the Apes(1968) portrays an "upside-down" world populated by dominant apes and inferior, primitive humans. This article examines ways in which screen composer Jerry Goldsmith draws on a ...range of twentieth-century classical music techniques to create a landmark orchestral film score that enhances the impact of the strange and confronting narrative.
A review of Terrence Malick's The Tree of Life which argues that the remarkable aesthetic ambition of the film and its great success in depicting a mid-century American childhood are to an extent ...undermined by its invocation of a benign divinity.
In this article the authors integrate literacy with classroom‐based technologies to create a student produced movie. The authors explain the steps to classroom movie production that deepens students' ...comprehension, engages students' in purposeful writing, and utilizes new technologies.
Film Music Bibliography 2011 and 2012 Kosovsky, Robert; Sherk, Warren M.; Kulezic-Wilson, Danijela
Music and the moving image,
07/2013, Letnik:
6, Številka:
2
Journal Article
Sound and Music in Film and Visual Media is a mammoth project undertaken by book editor Graeme Harper, film editor Ruth Doughty and music editor Jochen Eisentraut. Over fifty scholars were involved ...in the project, which covers a vast amount of topics. This publication represents a solid contribution to the ever-developing scholarly study of music and sound in visual media and would benefit student and scholar alike.
Neo-Riemannian theory offers an auspicious toolkit for analyzing film music—a repertoire in which dramatic exigency takes precedence over functional tonal logic. The ability of neo-Riemannian theory ...to model harmonic progressions as dynamic and contextually determined, particularly with association-laden chromatic motions, suits it eminently to Hollywood scoring practice. This transformational approach is tested on James Horner’s music for the film A Beautiful Mind. In this score, Horner illustrates the mental life of the mathematician John Nash with wildly chromatic but firmly triadic music. A group generated by the operators L, R, and S provides the transformational fount for a “Genius complex” that represents intense intellection. Three cues from A Beautiful Mind are analyzed. Collectively, their tonal spaces reveal a distinctly transformational contribution to narrative and characterization. These readings further evince a tension between the logical teleology of sequential patterning with the radically contingent, even game-like quality of Horner’s triadic manipulations.
Oiticica sustained an intense dialogue with contemporary American experimental and popular culture, which he integrated, especially during his New York residency in the 1970s, into his explorations ...of "Brazilian" visual and aural motifs and into his long-standing examination of color, perception, and the objecthood of the artwork. According to Yvana Bentes, the Neyróti\a file at the Projeto Hélio Oiticica in Rio contains 250 images in seven folders named after the models of the series.83 The near nudity of many of the models, their casual poses, the warm colors, and the soft lighting suggest postcoital languor.
Fado, the Portuguese guitar, and jazz and folk music have been major musical references in the first decades of the Portuguese national cinema. From its first recorded-sound film to the musical ...comedies in the ’40s, the Fado films of the ’50s, and the Novo Cinema productions in the ’60s and ’70s, this type of music has been featured prominently. Music itself became a topic or served as a major element in films by the country’s most renowned filmmakers: Manoel de Oliveira and João César Monteiro. Contemporary filmmakers such as Miguel Gomes, João Canijo, Edgar Pêra, and Pedro Costa have lately emphasized the importance of music in their production. My aim in this article is to offer a brief introductory survey on the role of music in Portuguese film history, before focusing on a contemporary film, Ne Change Rien (2009), by internationally acclaimed filmmaker Pedro Costa. Within the context of Portuguese cinema, the film demonstrates indeed a revitalized interest in the relation between music and the moving image. This recent production, which features French actress and singer Jeanne Balibar and explores her rehearsal and recording process and on stage performances, challenges our ideas on art production with its representation of music in film. I will use the concept of the “indisciplinary film” in order to grasp the complex political and aesthetic implications of Ne Change Rien’s way of engaging with the different aspects and the mystery involved in the creation of music and filmmaking.
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