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Not only is the auteur not dead, but many contemporary directors' films sing in distinctive ways. Ashby's collection is timely and brilliantly focused, revealing the key musical dimension to filmmakers we thought we knew. Informationen zum Autor Arved Ashby is Professor of Music at The Ohio State University, where he teaches courses on 19th-, 20th-, and 21st-century music in contexts of cultural history, critical theory, post-Marxist aesthetics, and media and communications. He is editor of Listening to Modernism: Intention, Meaning, and the Compositional Avant-garde (Rochester, 2004) and author of Absolute Music, Mechanical Reproduction (California,2010) Klappentext Popular Music and the New Auteur looks at seven contemporary directors whose feature films are characterized by music-video aesthetics. Demonstrating a fresh kind of cinematic musicality, these filmmakers write against music rather than against script, and allow pop songs a determining role in narrative and imagery. Zusammenfassung Popular Music and the New Auteur looks at seven contemporary directors whose feature films are characterized by music-video aesthetics. Demonstrating a fresh kind of cinematic musicality, these filmmakers write against music rather than against script, and allow pop songs a determining role in narrative and imagery. TABLE OF CONTENTS ; INTRODUCTION / ARVED ASHBY ; MUSIC AND CINEMATIC TIME ; 1. "WITHOUT MUSIC I WOULD BE LOST": SCORSESE, GOODFELLAS, AND A NEW SOUNDTRACK PRACTICE / JULIE HUBBERT ; 2. LOST IN TRANSLATION: POPULAR MUSIC AND THE MELODRAMATIC MODE OF SOFIA COPPOLA / TIM ANDERSON ; MUSIC AND THE IMAGE ; 3. A MUSICAL TOUR OF THE BIZARRE: POPULAR MUSIC AS FANTASY IN DAVID LYNCH / GENE WILLET ; 4. SONGS OF DELUSION: POPULAR MUSIC AND THE AESTHETICS OF THE SELF IN WONG KAR-WAI'S CINEMA / GIORGIO BIANCOROSSO ; MUSIC AS INSTRUMENT OF IRONY AND AUTHENTICITY ; 5. O BROTHER WHERE CHART THOU?: POP MUSIC AND THE COEN BROTHERS / JEFF SMITH ; 6. YOU'VE HEARD THIS ONE BEFORE: QUENTIN TARANTINO'S SCORING PRACTICES FROM KILL BILL TO INGLOURIOUS BASTERDS / KEN GARNER ; 7. WES ANDERSON, IRONIST AND AUTEUR / ARVED ASHBY ; BIBLIOGRAPHY ; INDEX ...
About the author
Arved Ashby is Professor of Music at The Ohio State University, where he teaches courses on 19th-, 20th-, and 21st-century music in contexts of cultural history, critical theory, post-Marxist aesthetics, and media and communications. He is editor of Listening to Modernism: Intention, Meaning, and the Compositional Avant-garde (Rochester, 2004) and author of Absolute Music, Mechanical Reproduction (California, 2010)
Summary
Popular Music and the New Auteur looks at seven contemporary directors whose feature films are characterized by music-video aesthetics. Demonstrating a fresh kind of cinematic musicality, these filmmakers write against music rather than against script, and allow pop songs a determining role in narrative and imagery.
Additional text
Not only is the auteur not dead, but many contemporary directors' films sing in distinctive ways. Ashby's collection is timely and brilliantly focused, revealing the key musical dimension to filmmakers we thought we knew.
