Music And Cinema James Buhler

  music and cinema james buhler: Music and Cinema James Buhler, Caryl Flinn, David Neumeyer, 2000 A wide-ranging look at the role of music in film.
  music and cinema james buhler: Music and Cinema James Buhler, Caryl Flinn, David Neumeyer, 2000-11 A wide-ranging look at the role of music in film.
  music and cinema james buhler: Meaning and Interpretation of Music in Cinema David P. Neumeyer, 2015-08-17 By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer's 25-year project in the analysis and interpretation of music in film.
  music and cinema james buhler: Voicing the Cinema James Buhler, Hannah Lewis, 2020-03-16 Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism. Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell
  music and cinema james buhler: Hearing the Movies James Buhler, David Neumeyer, 2015-04-01 Hearing the Movies, Second Edition, combines a historical and chronological approach to the study of film music and sound with an emphasis on building listening skills. Through engaging, accessible analyses and exercises, the book covers all aspects of the subject, including how a soundtrack is assembled to accompany the visual content, how music enhances the form and style of key film genres, and how technology has influenced the changing landscape of film music.
  music and cinema james buhler: Theories of the Soundtrack James Buhler, 2019 A theory of the soundtrack is concerned with what belongs to the soundtrack, how a soundtrack is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound and music, classify the types of relations that films have used for image and sound, identify the central problems, and reflect on and describe effective uses of sound in film. This book summarizes and critiques major theories of the soundtrack from roughly 1929 until today. Rather than providing an exhaustive historical survey, it sketches out the range of theoretical approaches that have been applied to the soundtrack since the commercial introduction of the sound film. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories. The organization is both chronological and topical, the former in that the chapters move steadily from early film theory through models of the classical system to more recent critical theories; the latter in that the chapters highlight central issues for each generation: the problem of film itself, then of image and sound, of adequate analytical-descriptive models, and finally of critical-interpretative models.
  music and cinema james buhler: The Cambridge Companion to Film Music Mervyn Cooke, Fiona Ford, 2016-12-08 A stimulating and unusually wide-ranging collection of essays overviewing ways in which music functions in film soundtracks.
  music and cinema james buhler: Hollywood Harmony Frank Lehman, 2018 Film music often tells us how to feel, but it also guides us how to hear. Filmgoing is an intensely musical experience, one in which the soundtrack structures our interpretations and steers our emotions. Hollywood Harmony explores the inner workings of film music, bringing together tools from music theory, musicology, and music psychology in this first ever book-length analytical study of this culturally central repertoire. Harmony, and especially chromaticism, is emblematic of the film music sound, and it is often used to evoke that most cinematic of feelings-wonder. To help parse this familiar but complex musical style, Hollywood Harmony offers a first-of-its kind introduction to neo-Riemannian theory, a recently developed and versatile method of understanding music as a dynamic and transformational process, rather than a series of inert notes on a page. This application of neo-Riemannian theory to film music is perfect way in for curious newcomers, while also constituting significant scholarly contribution to the larger discipline of music theory. Author Frank Lehman draws from his extensive knowledge of cinematic history with case-studies that range from classics of Golden Age Hollywood to massive contemporary franchises to obscure cult-films. Special emphasis is placed on scores for major blockbusters such as Lord of the Rings, Star Wars, and Inception. With over a hundred meticulously transcribed music examples and more than two hundred individual movies discussed, Hollywood Harmony will fascinate any fan of film and music.
  music and cinema james buhler: A History of Film Music Mervyn Cooke, 2008-09-25 This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices.
  music and cinema james buhler: Film, Music, Memory Berthold Hoeckner, 2019-11-27 Film has shaped modern society in part by changing its cultures of memory. Film, Music, Memory reveals that this change has rested in no small measure on the mnemonic powers of music. As films were consumed by growing American and European audiences, their soundtracks became an integral part of individual and collective memory. Berthold Hoeckner analyzes three critical processes through which music influenced this new culture of memory: storage, retrieval, and affect. Films store memory through an archive of cinematic scores. In turn, a few bars from a soundtrack instantly recall the image that accompanied them, and along with it, the affective experience of the movie. Hoeckner examines films that reflect directly on memory, whether by featuring an amnesic character, a traumatic event, or a surge of nostalgia. As the history of cinema unfolded, movies even began to recall their own history through quotations, remakes, and stories about how cinema contributed to the soundtrack of people’s lives. Ultimately, Film, Music, Memory demonstrates that music has transformed not only what we remember about the cinematic experience, but also how we relate to memory itself.
  music and cinema james buhler: The Invisible Art of Film Music Laurence E. MacDonald, 2013-05-02 In this updated and expanded edition of The Invisible Art of Film Music, Laurence MacDonald provides a comprehensive introduction to film music for the general student, the film historian, and the aspiring cinematographer. This volume is a historically structured account of the evolution of music in films and the development of the films themselves. Arranged as a chronological survey from the silent era to the present day, this volume offers readers insight into the vital contribution film scores have made.
  music and cinema james buhler: Music and Sound in Silent Film Ruth Barton, Simon Trezise, 2018-12-07 Despite their name, the silent films of the early cinematic era were frequently accompanied by music and other sound elements of many kinds, including mechanical instruments, live performers, and audience sing-alongs. The 12 chapters in this concise book explore the multitude of functions filled by music in the rapidly changing context of the silent film era, as the concept of cinema itself developed. Examples are drawn from around the globe and across the history of silent film, both during the classic era of silent film and later uses of the silent format. With contributors drawn from film studies and music disciplines, and including both senior and emerging scholars, Music and Sound in Silent Film offers an essential introduction to the origins of film music and the cinematic art form.
  music and cinema james buhler: The Hollywood Film Musical Barry Keith Grant, 2012-02-28 This revealing history of the American film musical synthesizes the critical literature on the genre and provides a series of close analytical readings of iconic musical films, focusing on their cultural relationship to other aspects of American popular music. Offers a depth of scholarship that will appeal to students and scholars Leads a crucial analysis of the cultural context of musicals, particularly the influence of popular music on the genre Delves into critical issues behind these films such as race, gender, ideology, and authorship Features close readings of canonical and neglected film musicals from the 1930s to the present including: Top Hat, Singin' in the Rain, Woodstock, Gimme Shelter, West Side Story, and Across the Universe
  music and cinema james buhler: A History of Three-Dimensional Cinema David A. Cook, 2021-09-14 A History of Three-Dimensional Cinema chronicles 3-D cinema as a single, continuous and coherent medium, proceeding from 19th-century experiments in stereoscopic photography and lantern projection (1839–1892) to stereoscopic cinema’s “long novelty period” (1893–1952). It proceeds to examine the first Hollywood boom in anaglyphic stereo (1953–1955), when the mainstream industry produced 69 features in 3-D, mostly action films that could exploit the depth illusion, but also a handful of big-budget films—for example, Kiss Me Kate (George Sidney, 1953) and Dial M for Murder (Alfred Hitchcock, 1954)—until audiences tired of the process; the anaglyphic revival of 1970–1985, when 3-D was sustained as a novelty feature in sensational genres like soft-core pornography and horror; the age of IMAX 3-D (1986–2008); the current era of digital 3-D cinema, which began in 2009 when James Cameron’s Avatar became the highest-grossing feature of all time and the studios once again stampeded into 3-D production; and finally the future promise of Virtual Reality.
  music and cinema james buhler: The Music and Sound of Experimental Film Holly Rogers (Professor of music), Jeremy Barham, 2017 Holly Rogers is Senior Lecturer in Music at Goldsmiths, University of London. Book jacket.
  music and cinema james buhler: Music in Epic Film Stephen Meyer, 2016-09-01 As both a distinct genre and a particular mode of filmmaking, the idea of the epic has been central to the history of cinema. Including contributions from both established and emerging film music scholars, the ten essays in Music in Epic Film: Listening to Spectacle provide a cross-section of contemporary scholarship on the subject. They explore diverse topics, including the function of music in epic narratives, the socio-political implications of cinematic music, and the use of pre-existing music in epic films. Intended for students and scholars in film music, film appreciation, and media studies, the wide range of topics and the diversity of the films that the authors discuss make Music in Epic Film: Listening to Spectacle an ideal introduction to the field of music in epic film.
  music and cinema james buhler: Sound, Speech, Music in Soviet and Post-Soviet Cinema Lilya Kaganovsky, 2014-03-07 This innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. Addressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.
  music and cinema james buhler: The Oxford Handbook of Film Music Studies David Neumeyer, 2014 The Oxford Handbook of Film Music Studies gathers two dozen original essays that chart the history and current state of interdisciplinary scholarship on music in audiovisual media, focusing on four areas: history, genre and medium, analysis and criticism, and interpretation.
  music and cinema james buhler: The Sound of Pictures Andrew Ford, 2011-02 The Sound of Pictures is an illuminating journey through the soundtracks of more than 400 films. How do filmmakers play with sound? And how does that affect the way we watch their movies? Whether pop or classical, sweeping or sparse, music plays a crucial role in our cinematic experience. Other sounds can be even more evocative: the sounds of na...
  music and cinema james buhler: The Voice in Cinema Michel Chion, 1999 Chion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.
  music and cinema james buhler: Film Music: A History James Wierzbicki, 2009-01-21 Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the Silent Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the Classical-Style Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of great film scores and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.
  music and cinema james buhler: Unsettled Scores Sally Bick, 2019-12-20 The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America's potent mass culture. Drawn by Hollywood's potential to reach—and edify—the public, Copland and Eisler expertly wove sophisticated musical ideas into Hollywood and, each in their own distinctive way, left an indelible mark on movie history. Sally Bick's dual study of Copland and Eisler pairs interpretations of their writings on film composing with a close examination of their first Hollywood projects: Copland's music for Of Mice and Men and Eisler's score for Hangmen Also Die! Bick illuminates the different ways the composers treated a film score as means of expressing their political ideas on society, capitalism, and the human condition. She also delves into Copland's and Eisler's often conflicted attempts to adapt their music to fit Hollywood's commercial demands, an enterprise that took place even as they wrote hostile critiques of the film industry.
  music and cinema james buhler: Cinema and Experience Miriam Hansen, 2012 Kracauer. Film, medium of a disintegrating world. -- Curious Americanism. -- Benjamin. Actuality, antinomies. -- Aura: the appropriation of a concept. -- Mistaking the moon for a ball. -- Micky-maus. -- Room-for-play. -- Adorno. The question of film aesthetics. -- Kracauer in exile. Theory of film.
  music and cinema james buhler: Memories Before and After the Sound of Music Agathe von Trapp, 2010-09-14 Agathe von Trapp, the oldest daughter in the Trapp Family Singers, offers readers the real story behind an American classic in her poignant and fascinating autobiography Memories Before and After The Sound of Music. The courageous family and events immortalized in the beloved Broadway musical and hit Hollywood film come vibrantly alive in these pages, and Agathe’s post-Sound of Music life is equally compelling.
  music and cinema james buhler: Film Music Kathryn Marie Kalinak, 2023 Film music is as old as cinema. The first projected moving images were accompanied by music through a variety of performers-from single piano players to small orchestras-that brought images to life. Film music has since become its own industry, an aesthetic platform for expression creative visions, and a commercial vehicle for growing musical stars of all varieties. This Very Short Introduction takes the reader behind the scenes to understand both the practical aspects of film music and the theories behind why it works. The updated second edition includes the music from film industries in Africa, Asia and South Asia, and Latin America, and the stories of musicians from previously under-represented groups.
  music and cinema james buhler: The Sounds of the Silents in Britain Julie Brown, Annette Davison, 2012-12-03 The Sounds of the Silents in Britain explores the sonic dimension of film exhibition in Britain from the emergence of cinema to the introduction of synchronized sound. Written by experts on British silent film and film music, the chapters provide an introduction to diverse aspects of early film sound: vocal performance, from lecturing and reciting to voicing the drama; music, from developments in accompanying techniques to the impact of legislation on musical practice overall; and performance in cinemas more generally, from dancing and singalong films to live stage prologues. The book also debunks some of the myths about the sonic dimension of film exhibition: it reveals that exhibition practices in London were arguably more sophisticated than those in New York before the onset of World War I, for instance, and that venue licensing decisions had a profound effect on whether music could even be performed with film in some theatres. Based on extensive archival research and musicological analysis, The Sounds of the Silents in Britain represents an important addition to early film and film music scholarship.
  music and cinema james buhler: Understanding the Leitmotif Matthew Bribitzer-Stull, 2015-05-14 The musical leitmotif, having reached a point of particular forcefulness in the music of Richard Wagner, has remained a popular compositional device up to the present day. In this book, Matthew Bribitzer-Stull explores the background and development of the leitmotif, from Wagner to the Hollywood adaptations of The Lord of The Rings and the Harry Potter series. Analyzing both concert music and film music, Bribitzer-Stull explains what the leitmotif is and establishes it as the union of two aspects: the thematic and the associative. He goes on to show that Wagner's Ring cycle provides a leitmotivic paradigm, a model from which we can learn to better understand the leitmotif across style periods. Arguing for a renewed interest in the artistic merit of the leitmotif, Bribitzer-Stull reveals how uniting meaning, memory, and emotion in music can lead to a richer listening experience and a better understanding of dramatic music's enduring appeal.
  music and cinema james buhler: Film Music John Haines, 2021 This is an introductory textbook for students taking courses in film music--
  music and cinema james buhler: The Hollywood Film Music Reader Mervyn Cooke, 2010-11-04 This wide-ranging, stimulating, and entertaining anthology of writings about the experiences of composers working in the high-pressure environment of the US film industry from the silent era to the present day includes both vivid first-hand accounts from the composers themselves and a representative selection of contemporaneous criticism and commentary.
  music and cinema james buhler: Beyond the Soundtrack Daniel Ira Goldmark, Lawrence Kramer, Richard Leppert, 2007-06-08 This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to the image in shaping the experience of film. Refuting the familiar idea that music serves as an unnoticed prop for narrative, these essays demonstrate that music is a fully imagined and active power in the worlds of film. Even where films do give it a supporting role—and many do much more—music makes an independent contribution. Drawing on recent advances in musicology and cinema studies, Beyond the Soundtrack interprets the cinematic representation of music with unprecedented richness. The authors cover a broad range of narrative films, from the silent era (not so silent) to the present. Once we think beyond the soundtrack, this volume shows, there is no unheard music in cinema.
  music and cinema james buhler: The Routledge Film Music Sourcebook James Eugene Wierzbicki, Nathan Platte, Colin Roust, 2012 An annotated, thematically organized collection of approximately eighty source readings pertaining to film music dating from its beginnings to the present, from the US and other select countries around the globe.
  music and cinema james buhler: Overhearing Film Dialogue Sarah Kozloff, 2000-03-30 Through informative discussion of dozens of classic and contemporary films - from Bringing Up Baby to Terms of Endearment, from Stagecoach to Reservoir Dogs--This text provides a full-length study of the use of dialogue in American film.
  music and cinema james buhler: The Ancient World in Silent Cinema Pantelis Michelakis, Maria Wyke, 2013-08-15 The first systematic attempt to focus on the instrumental role of silent cinema in early twentieth-century conceptualizations of the ancient Mediterranean and Middle East. It is located at the intersection of film studies, classics, Bible studies and cultural studies.
  music and cinema james buhler: Sound and Music in Film and Visual Media Graeme Harper, Ruth Doughty, Jochen Eisentraut, 2014-10-27 Sound and Music in Film and Visual Media: A Critical Overview is a comprehensive work defining and encapsulating concepts, issues and applications in and around the use of sound in film and the cinema, media/broadcast and new media. Over thirty definitive full-length essays, which are linked by highlighted text and reference material, bring together original research by many of the world's top scholars in this emerging field. Complete with an extensive bibliography, Sound and Music in Film and Visual Media provides the most comprehensive and wide-ranging consideration of this subject yet produced.
  music and cinema james buhler: Brass Diva Caryl Flinn, 2009-02-25 A comprehensive biography of the life and career of American star of stage and film musicals, Ethel Merman, that chronicles her childhood, family, early film appearances, and success in the entertainment industry.
  music and cinema james buhler: The New German Cinema Caryl Flinn, 2004-02-09 This study of New German cinema identifies different styles of historical remembrance in which music participates.
  music and cinema james buhler: The Audible Past Jonathan Sterne, 2003-03-13 Table of contents
  music and cinema james buhler: Producing Great Sound for Film and Video Jay Rose, 2015 Make your film and video projects sound as good as they look with this popular guide. Learn practical, timesaving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! In this fourth edition of Producing Great Sound for Film and Video, audio guru Jay Rose revises his popular text for a new generation of filmmakers. You'll find real world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair and processing, and mixing. The combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade. This new edition includes: - Insights and from-the-trenches tips from film and video professionals - Advice on how to get the best results from new equipment including DSLRs and digital recorders - Downloadable diagnostics and audio examples you can edit on your own computer - Instruction for dealing with new regulations for wireless mics and broadcast loudness - Techniques that work with any software or hardware - An expanded How Do I Fix This? section to help you solve problems quickly - An all new companion website (www.GreatSound.info) with audio and video tutorial files, demonstrations, and diagnostics Whether you're an aspiring filmmaker who wants rich soundtracks that entertain and move an audience, or an experienced professional looking for a reference guide, Producing Great Sound for Film and Video, Fourth Edition has the information you need--
  music and cinema james buhler: The Palgrave Handbook of Sound Design and Music in Screen Media Liz Greene (Sound designer), Danijela Kulezic-Wilson, 2016 This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed.
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