Reeled In: Pre-existing Music in Narrative Film

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A01=Jonathan Godsall
Age Group_Uncategorized
Age Group_Uncategorized
Aram Khachaturian
audiovisual culture
Author_Jonathan Godsall
automatic-update
Barber's Adagio
Barber’s Adagio
Beethoven's Seventh Symphony
Beethoven’s Seventh Symphony
Blue Velvet
Category1=Non-Fiction
Category=AB
Category=AVGC6
Category=AVLA
cinematic music quotation effects
COP=United Kingdom
copyright in cinema
Delivery_Pre-order
Diegetic Music
enthusiasts
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eyes
Eyes Wide Shut
film musicology
Guitar Hero
Home Town
James Bond Theme
Joplin's Music
Joplin’s Music
King's Speech
King’s Speech
Language_English
Magic Carpet Ride
Main Title Theme
Marvin Hamlisch
music
music appropriation
Music Supervisor
PA=Temporarily unavailable
pieces
Ppl
pre-existing
Pre-existing Music
Pre-existing Pieces
Price_€20 to €50
PS=Active
release
score
Score Enthusiasts
screen media studies
shut
softlaunch
soundtrack
soundtrack analysis
Soundtrack Release
Strauss's Tone Poem
Strauss’s Tone Poem
Symphonie Fantastique
UK Chart
Wayne's World
Wayne’s World
When Johnny Comes Marching Home
wide

Product details

  • ISBN 9780367586386
  • Weight: 370g
  • Dimensions: 156 x 234mm
  • Publication Date: 30 Jun 2020
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
  • Language: English
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How and why is pre-existing music used in films? What effects can its use have on films and their audiences? And what lasting impact can appropriation have on the music? Reeled In is a comprehensive exploration of these questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, and Herrmann scores alike in films ranging from the early sound era to the present day, and in every role from ‘main title theme’ to ‘music playing in bar’. Incorporating a discussion of such factors as copyright and commerce alongside examination of texts and their effects, this broad study is a significant contribution to the scholarship on music in screen media, demonstrating that pre-existing music possesses unique attributes that can affect both how filmmakers construct their works and how audiences receive them, to an extent regardless of the music’s style, genre, and so on. This book also situates the reception of music by film, and by audiences experiencing that music through film, as significant processes within present-day culture, while more generally providing an illuminating case study of the kinds of borrowings, adaptations, and reinventions that characterize much of today’s art and entertainment.

Jonathan Godsall is Teaching Fellow in Music at Royal Holloway, University of London. He has also taught music at the University of Cambridge, the University of Bristol, Oxford Brookes University, Keele University, Plymouth University, and City, University of London. He was awarded his PhD from the University of Bristol in 2014, and has published on screen-music topics in journals and edited books, as well as presenting internationally. He is also a drummer and percussionist.

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