Cover image for Music and cinema
Music and cinema
Buhler, James, 1964-
Publication Information:
Hanover, NH : University Press of New England, [2000]

Physical Description:
vi, 397 pages : illustrations ; 23 cm.
Star wars, music, and myth / James Buhler -- Richard Wagner and the fantasy of cinematic unity / Scott D. Paulin -- Leitmotifs and musical reference in the classical film score / Justin London -- Songlines / Wendy Everett -- Strategies of remembrance / Caryl Flinn -- Kansas City dreamin' / Krin Gabbard -- Music, drama, Warner Brothers / Martin Marks -- Tonal design and the aesthetic of pastiche in Herert Stothart's Maytime / Ronald Rodman -- Finding release / Murray Pomerance -- That money-making "Moon River" sound / Jeff Smith -- Ultrasound / Michelle Lekas -- Designing women / Lucy Fischer -- Disciplining Josephine Baker / Kathryn Kalinak -- Inventing the cinema soundtrack / Rick Altman, with McGraw Jones and Sonia Tatroe -- Film music / Annabel J. Cohen.

Format :


Call Number
Material Type
Home Location
Item Holds
ML2075 .M875 2000 Adult Non-Fiction Non-Fiction Area

On Order



Examines the role of music in motion picture films and its influence on the formation of cinematic ideologies.

Reviews 1

Choice Review

Studies in the history and theoretical considerations of film music are appearing with increasing frequency. Welcome indeed is this splendid new anthology by top writers in the field, writers whose rigorous critical approaches embrace both musicological and cinema studies in addition to particularized areas of feminist, postcolonial, and cognitive film theory. Buhler, Flinn, and Neumeyer divide the 15 essays into five sections: the impact on and application of the Wagnerian Gesamtkunstwerk, unendliche Melodie, and Leitmotif on cinematic practices in "classical" Hollywood; the use of popular songs and jazz in the construction of autobiography, memory, and national identity in films by Terence Davies, Rainer Fassbinder, and Robert Altman; the deployment of diegetic and nondiegetic music in Casablanca, The Maltese Falcon, The Man Who Knew Too Much, and Maytime; the role of music in filmic gender construction and fetishism; and methodological approaches to analyzing the "multi-plane" film soundtrack (i.e., charting the simultaneous aggregate of multiple aural messages). Though beyond most undergraduates, this indispensable volume is recommended to graduate students, researchers, and educators. J. C. Tibbetts University of Kansas

Table of Contents

Part 1 Leitmotif: New Debates and Questions
Star Wars, Music and Myth James Buhler
Richard Wagner and the Fantasy of Cinematic Unity: The Idea of the Gesamtkunstwerk in the History and Theoru of Film and Music Scott D. Paulin
Leitmotifs and Musical Reference in the Classical Film Score Justin London
Part 2 Beyond Classical Film Music
Songlines: Alternative Journeys in Contemporary European Cinema Wendy Everett
Strategies of Remembrance: Music and History in the New German Cinema Caryl Flinn
Kansas City Dreamin': Robert Altman's Jazz History Lesson Krin Gabbard
Part 3 Style and Practice in Classical Film Music
Music, Drama, Warner Brother: The Cases of Casablanca and the Maltese Falcom Martin Marks
Tonal Design and the Aesthetic of Pastiche in Herbert Stothart's Maytime Ronald Rodman
Finding Release: "Storm Clouds" and The Man Who Knew Too Much Murray Pomerance
That Money-Making "Moon River" Sound: Thematic Organization and Orchestration in the Film Music of Henry Mancini Jeff Smith
Part 4 Gender, Ethnicity, Identity
Ultrasound: The Feminine in the Age of Mechanical Reproduction Michelle Lekas
Designing Women : Art Deco, the Musical, and the Female Body Lucy Fischer
Disciplining Josephine Baker: Gender, Race, and the Limits of Disciplinarity Kathryn Kalinak
Part 5 Methodological Possibilities
Inventing the Cinema Soundtrack: Hollywood's Multiplane Sound System Ric Altman, with McGraw Jones and Sonia Tatroe
Film Music: Perspectives from Cognitive Psychology Annabel J Cohen