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Music, Narrative and the Moving Image
Varieties of Plurimedial Interrelations
Series: - Word and Music Studies, Volume: 17
- Word and Music Studies Online, Volume: 17
Preface
1 Music’s Body and the Moving Image
Lawrence Kramer
2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving Images
Saskia Jaszoltowski
3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman Show
Werner Wolf
4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic Model
Jordan Carmalt Stokes
5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni’s Rapsodia Satanica (1915)
Bernhard Kuhn
6 Humanized Documentary, “Light” Verse, and Music Made to Fit:
G.P.O.
Film Unit/Auden/Britten’s
Night Mail (1936)
Walter Bernhart
7 An Incarnation of Memory: Song as Absence in Claude Lanzmann’s Shoah
Ruth Jacobs
8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan’s Winter Sleep
Heidi Hart
9 Mise en scène, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski’s Ida
Christopher Booth
10 Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre
Peter Dayan
11 ‘The Big Turnaround in the Middle’: On the Silent Movie and the Film Music Interlude in Alban Berg’s Opera Lulu
Marion Recknagel
12 All the Pieces Matter: On Complex TV Music
Frieder von Ammon
13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across Media
Emily Petermann
14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten’s Juan
Axel Englund
15 Novel, Woodcuts, Film, Music …: Pondering over the Title of Gara Garayev’s Symphony Engravings “Don Quixote”
Alla Bayramova
16 Film as Opera: Three Perspectives on Still Life and Brief Encounter
Michael Halliwell
17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil?
David Francis Urrows
List of Figures
Notes on Contributors
Index
Part 1
Section 1: Film Music: Reflections on Functions
1 Music’s Body and the Moving Image
Lawrence Kramer
2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving Images
Saskia Jaszoltowski
3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman Show
Werner Wolf
4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic Model
Jordan Carmalt Stokes
Section 2: Film Music: Significant Intermedial Cases
5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni’s Rapsodia Satanica (1915)
Bernhard Kuhn
6 Humanized Documentary, “Light” Verse, and Music Made to Fit:
Walter Bernhart
7 An Incarnation of Memory: Song as Absence in Claude Lanzmann’s Shoah
Ruth Jacobs
8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan’s Winter Sleep
Heidi Hart
9 Mise en scène, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski’s Ida
Christopher Booth
Part 2: Intermedial Varieties
10 Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre
Peter Dayan
11 ‘The Big Turnaround in the Middle’: On the Silent Movie and the Film Music Interlude in Alban Berg’s Opera Lulu
Marion Recknagel
12 All the Pieces Matter: On Complex TV Music
Frieder von Ammon
13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across Media
Emily Petermann
Part 3: Remediations
14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten’s Juan
Axel Englund
15 Novel, Woodcuts, Film, Music …: Pondering over the Title of Gara Garayev’s Symphony Engravings “Don Quixote”
Alla Bayramova
16 Film as Opera: Three Perspectives on Still Life and Brief Encounter
Michael Halliwell
17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil?
David Francis Urrows
List of Figures
Notes on Contributors
Index