Cover image for Movie music, the film reader
Movie music, the film reader
Dickinson, Kay, 1972-
Publication Information:
London ; New York : Routledge, [2003]

Physical Description:
viii, 207 pages : music ; 24 cm.
Pt. 1. The meanings of the film score. The language of music : a brief analysis of Vertigo / Kathryn Kalinak -- Prejudices and bad habits / Theodor Adorno and Hans Eisler -- Why music? : the sound film and its spectator / Claudia Gorbman -- Reforming "jackass music" : the problematic aesthetics of early American film music accompaniment / Tim Anderson.

Pt. 2. The place of the song. Banking on film music : structural interactions of the film and record industries / Jeff Smith -- Cinema, postmodernity and authenticity / Lawrence Grossberg -- The silences of the palace and the anxiety of musical creation / Anastasia Valassopoulos -- Must you remember this? : orchestrating the "standard" pop song in Sleepless in Seattle / Ian Garwood.

Pt. 3. The formal politics of music on film. Whose jazz, whose cinema? / Krin Gabbard -- The animation of sound / Philip Brophy -- Pop, speed, teenagers and the "MTV aesthetic" / Kay Dickinson.

Pt. 4. Crossing over into the narrative. Gender, power, and a cucumber : satarizing masculinity in This is spinal tap / Carl Plantinga -- Manufacturing authenticity : imagining the music industry in Anglo-American cinema, 1956-62 / Keir Keightley -- A Madonna "wanna-be" story on film / Lisa Lewis.
Added Author:

Format :


Call Number
Material Type
Home Location
Item Holds
ML2075 .M877 2003 Adult Non-Fiction Non-Fiction Area

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Bringing together material from the areas of documentary, fandom and animation, Movie Music, the Film Reader comprises an important first collection of writings about film music. It is divided into four sections, each with an introduction by the editor. Essays in The Meanings of the Score look at instrumental scores, their production and reception, and questions the onscreen power of the nineteenth century classical genre. The Place of the Song turns to popular music, asking how the pop score supports the film narrative. Formal Politics of Music on Film considers the subversive power of film music, and in Crossing Over Into the Narrative articles address the use of musicians within film narratives, from rockumentaries to pop-stars-as-movie-stars, such as Madonna in Desperately Seeking Susan.

Table of Contents

1 How Music Works in Film Kassabian
2 Why Music? The Sound Film and its Spectator GorbmanN
3 Suggestions and Conclusions Adorno and Eisler
4 Reforming 'Jackass music': the Problematic Aesthetics of Early Film Music Accompaniment' Anderson
5 (Re) new (ed) Conservatism in Film Marketing Doty
6 My Huckleberry Friend Smith
7 Cinema, Postmodernity and Authenticity Grossberg
8 The Animation of Sound Brophy
9 Whose Jazz, Whose Cinema? Gabbard
10 Hollywood and the Challenge of the Youth Market Mundy
11 Pop, Speed and the MTV aesthetic Kay Dickinson
12 Gender, Power, and a Cucumber: Satirising Masculinity in This is Spinal Tap Plantinga
13 (Pass Through) The Mirror Moment and Don't Look Back: Music and Gender in a Rockumentary Knobloch
14 Manufacturing Authenticity: Imagining the Music Industry in Anglo-American Cinema Keightley
15 Five Fan Events Lewis