Text

E-book When Music Takes Over in Film

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Penilaian

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A cold and grey day in an urban environment, monotony reigns and dictates the mundane lives of the city’s inhabitants. A boy wants to express his love for the girl next door. Timidly at first he starts to sing and an orchestral accompaniment slowly rises as the girl joins him in song and they begin to dance. Here the environment changes, the camera begins to ‘move along’ with the characters and the scenery shifts to vibrant colours. We see the world through the lovers’ eyes; we hear their song and feel with and for them. Just like the singing and dancing characters in the film, we, the audience, escape our surroundings and for a brief moment we experience ‘what utopia would feel like’ (Dyer 2002: 20). Scenes similar to this fictitious one are virtually obligatory in the film musical, but they can be found in many films. Song-and-dance scenes have served as constitutive elements of cinema since its early days in the so-called silent period. In a variety of manifestations, they remain central creative components of filmmaking beyond generic categories like the film musical. This edited collection is interested in those moments of a film in which the music takes over, in which ‘unheard melodies’—diegetic song-and-dance, diegetic and non-diegetic songs—become meaningful. Film music and the film musical are often discussed in terms of their functions in relation to the narrative, their ability to support or heighten meanings of the images while remaining unobtrusive, or with regard to their musical structures. Recently, a new interest in musical numbers has appeared that considers ‘musical moments’ as ‘fluid and malleable expres-sive form[s]’ (Herzog 2010: 5). Different from much of the existing scholarship on the film musical, these new approaches foreground the affective and political power of such sequences, invoking a new interest in musical numbers that goes beyond formal, narrative or heuristic analyses and interpretations. While the tools and starting points of some of these perspectives may differ, they share a curiosity about the filmic elements that Richard Dyer calls ‘non-representational signs’ (Dyer 2002: 22); in movement and rhythm, in new ways of reading such musical instances, readings that try to get to the essence of these scenes and thus to the essence of cinema.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

781.54 AVI w

Penerbit

Switzerland : Springer Nature., 2023

Deskripsi Fisik

265 hlm

Bahasa

English

ISBN/ISSN

9783030891558

Klasifikasi

781.54

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Music for Specific Media

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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