| 000 | 03203nam a2200553 a 4500 | ||
|---|---|---|---|
| 001 | 684060 | ||
| 005 | 20230309202147.0 | ||
| 007 | cr|||||||||||| | ||
| 008 | 001205s2001 nyua fs 000 0 eng d | ||
| 020 | _a9780203900802 (ebook) | ||
| 035 | _a(StDuBDS)AH3716220 | ||
| 040 |
_aStDuBDS _cStDuBDS _dStDuBDSZ _dUkPrAHLS |
||
| 072 | 7 |
_aMUS _2ukslc |
|
| 072 | 7 |
_aAPFA _2bicssc |
|
| 072 | 7 |
_a3JJPN _2bicssc |
|
| 072 | 7 |
_a3JJPR _2bicssc |
|
| 072 | 7 |
_aAVA _2bicssc |
|
| 072 | 7 |
_aAVQ _2bicssc |
|
| 072 | 7 |
_aJFCA _2bicssc |
|
| 072 | 7 |
_aATFA _2thema |
|
| 072 | 7 |
_a3MPQX _2thema |
|
| 072 | 7 |
_a3MPQZ _2thema |
|
| 072 | 7 |
_aAVA _2thema |
|
| 072 | 7 |
_aAVQ _2thema |
|
| 072 | 7 |
_aJBCC1 _2thema |
|
| 072 | 7 |
_aAV _2thema |
|
| 072 | 7 |
_aGBC _2thema |
|
| 100 | 1 | _aKassabian, Anahid. | |
| 245 | 1 | 0 |
_aHearing film : _btracking identifications in contemporary Hollywood film music / _cAnahid Kassabian. |
| 260 |
_aNew York ; _aLondon : _bRoutledge, _c2001. |
||
| 300 |
_a224p. : _bill. |
||
| 366 | _b20010111 | ||
| 520 | 8 |
_aThis critical examination of music in the films of the 1980s and 1990s looks at the burgeoning role of compiled scores in the shaping of a film. The role of music in films is analysed in terms of gender, race, desire and identity. _bMusic is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically.Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film . In the first section, "A Woman Scored," Kassabian analyzes desire and agency in the music of such films as Dangerous Liaisons, Desert Hearts, Bagdad Caf, Dirty Dancing and Thelma and Louise. In "At the Twilight's Last Scoring," she looks at gender, race, sexuality and assimilation in the music of The Hunt for Red October, Lethal Weapon 2 and Indiana Jones and the Temple of Doom. And finally, in "Opening Scores," she considers how films such as Dangerous Minds, The Substitute, Mississippi Masala and Corrina, Corrina bring together several different entry points of identification through their scores.Kassabian ensures that modern film criticism has a new chapter written through this book. Her important and long-overdue analysis is not to be ignored. Also includeseleven musical examples. |
|
| 530 | _aAlso available in printed form ISBN 9780415928540 | ||
| 533 |
_aElectronic reproduction. _cAskews and Holts. _nMode of access: World Wide Web. |
||
| 650 | 0 |
_aMotion picture music _xHistory and criticism. |
|
| 650 | 7 |
_aMusic. _2ukslc |
|
| 650 | 7 |
_aFilm history, theory & criticism _2thema |
|
| 650 | 7 |
_ac 1980 to c 1989 _2thema |
|
| 650 | 7 |
_ac 1990 to c 1999 _2thema |
|
| 650 | 7 |
_aTheory of music & musicology _2thema |
|
| 650 | 7 |
_aMusical scores, lyrics & libretti _2thema |
|
| 650 | 7 |
_aPopular culture _2thema |
|
| 650 | 7 |
_aMusic _2thema |
|
| 650 | 7 |
_aReference works _2thema |
|
| 655 | 7 | _2lcsh | |
| 856 | 4 | 0 | _uhttp://www.vlebooks.com/vleweb/product/openreader?id=WestLondon&isbn=9780203900802 |
| 942 |
_n0 _2ddc |
||
| 999 |
_c39868 _d39868 |
||