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Erschienen in:
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2020 | OriginalPaper | Buchkapitel

1. Introduction

verfasst von : Paul Mazey

Erschienen in: British Film Music

Verlag: Springer International Publishing

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Abstract

Noting British film music’s ability to act as a marker of Britishness in a film, Mazey proposes that this is the result of films of this era embracing styles of music that are culturally significant in the history of British music. Mazey contends that the British industry draws upon its national musical heritage and this influences the aesthetic practices and approach to film scoring that develop in the British industry. The chapter explains the importance of this period in British film culture, introduces contemporary debates among film music practitioners, and places this study in the context of these and more recent research. It concludes by outlining the overall argument of the study.

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Nächstes Kapitel Aesthetic Conventions: Distinctiveness and Diversity
Fußnoten
1
For example, psychoanalytic theories that call on the hypnotic, trance-like quality of the wall-to-wall Hollywood scores of the 1930s and 1940s (Gorbman 1987, 55), or those that explore the uses of Romanticism in Hollywood scoring (Flinn 1992, 24) serve to highlight the differences between British and American film music.
 
2
Miklόs Rόzsa was initially wary of the American system of orchestrators. He recalls that, on his arrival in Hollywood to complete work on The Thief of Bagdad (1940), union rules compelled him to use an orchestrator for his subsequent films. The orchestrator had to be a union member, and Rόzsa himself could not join the union until he had spent a year in Hollywood (interviewed in Brown 1994, 278).
 
Literatur
Brown, Royal S. 1994. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press.
Chion, Michel. 1994. Audio-Vision: Sound on Screen. Trans. Claudia Gorbman. New York: Columbia University Press.
———. 2009. Film, A Sound Art. Trans. Claudia Gorbman. New York: Columbia University Press.
Cockshott, Gerald. 1946. ‘Incidental Music in the Sound Film’ Pamphlet. London: British Film Institute.
Donnelly, K.J. 2007. British Film Music and Film Musicals. Basingstoke: Palgrave Macmillan.CrossRef
Flinn, Caryl. 1992. Strains of Utopia: Gender, Nostalgia and Hollywood Film Music. Princeton: Princeton University Press.CrossRef
Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. London: British Film Institute.
Hayes, Malcolm, ed. 2002. The Selected Letters of William Walton. London: Faber.
Huntley, John. 1947. British Film Music. London: Skelton Robinson.
Jaubert, Maurice. 1938. Music on the Screen. In Footnotes on the Film, ed. Charles Davy, 101–115. London: Lovat Dickson Ltd.
Keller, Hans. 2006. In Film Music and Beyond: Writings on Music and the Screen, 1946–59, ed. Christopher Wintle. London: Plumbago Books.
Levy, Louis. 1948. Music for the Movies. London: Sampson Low.
London, Kurt. 1936. Film Music: A Summary of the Characteristic Features of Its History, Aesthetics, Technique, and Possible Developments. London: Faber & Faber.
Manvell, Roger, and John Huntley. 1975. The Technique of Film Music. London: Focal Press.
Mathieson, Muir. 1944. Aspects of Film Music. Tempo 9: 7–9.
Rόzsa, Miklόs. 1982. Double Life: The Autobiography of Miklόs Rόzsa. Tunbridge Wells: The Baton Press.
Sabaneev, Leonid. 1935. Music for the Films: A Handbook for Composers and Conductors. Trans. S.W. Pring. London: Sir Isaac Pitman & Sons Ltd.
Swynnoe, Jan G. 2002. The Best Years of British Film Music, 1936–1958. Woodbridge: Boydell Press.
Metadaten
Titel
Introduction
verfasst von
Paul Mazey
Copyright-Jahr
2020
Buch
British Film Music

Print ISBN: 978-3-030-33549-6

Electronic ISBN: 978-3-030-33550-2

Copyright-Jahr: 2020

DOI
https://doi.org/10.1007/978-3-030-33550-2_1