Hollywood Theory, Non-Hollywood Practice
Regular price
€62.99
14 days return policy
Shipping & Delivery
A01=Annette Davison
Acousmatic Sound
alternative scoring practices
Angelic Realm
Au Clair De La Lune
audio-visual theory
Author_Annette Davison
Category=AV
Category=AVLP
classical
Classical Film Scores
Classical Hollywood
Classical Hollywood Cinema
Classical Hollywood Film Score
Classical Hollywood Filmmaking
Classical Hollywood Scoring
Classical Scoring
Classical Scoring Practice
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
era
film musicology
film soundtrack aesthetics research
God Rest Ye Merry Gentlemen
Hollywood Cinema
Im Abendrot
music in European film
non-mainstream cinema
Nondiegetic Music
Playback
Real World Sounds
Rock Music
scoring
Scoring Practices
Sonic Elements
Soundtrack Albums
soundtrack analysis
studio
Studio Era
Tonal Functional Harmony
Vice Versa
Williams's Score
Williams’s Score
Product details
- ISBN 9781138272941
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 16 May 2017
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
Relatively little has been written about film scores and soundtracks outside of Hollywood cinema. Hollywood Theory, Non-Hollywood Practice addresses this gap by looking at the practices of film soundtrack composition for non-Hollywood films made after 1980. Annette Davison argues that since the mid-1970s the model of the classical Hollywood score has functioned as a form of dominant ideology in relation to which alternative scoring and soundtrack practices may assert themselves. The first part of the book explores some of the key theoretical issues and debates in film studies and film music studies. The second part comprises a series of case studies of non-Hollywood scores. Starting with Jean Luc Godard's Prénom: Carmen (1983), Davison argues that the film's score offers a deconstruction of the relationship between sound and image proposed by classical Hollywood film. Derek Jarman's The Garden (1990) takes the debate a step further in its exploration of the possibility that a film's soundtrack may be liberated from slavery to the image track. Wings of Desire (1987) directed by Wim Wenders offers, Davison believes, a negotiation between classical and alternative scoring and soundtrack practices; while David Lynch's Wild at Heart (1990) actually fully integrates scoring and soundtrack practices so that sounds and dialogue are used in musical ways. Seeking to stimulate debate about the aesthetics and interpretation of film scores and soundtracks in general, this book develops an important synthesis of film studies and musicology.
Annette Davison lecturers at the University of Edinburgh and has published a number of articles on film music and is co-editor (with Erica Sheen) of Weird on Top: The Films and Television of David Lynch (2003).
