Read more
Zusatztext This book tackles the musical aesthetic and practice of one of the most influential filmmakers in the post-classical period. The level of archival detail it engages in is impressive and stands to revise not just our understanding of Kubrick's films but the definition of auteurism and soundtrack compilation practice since the 1960s Informationen zum Autor Kate McQuiston is Associate Professor of Musicology at the University of Hawaii at Manoa where she has taught since 2007. Klappentext We'll Meet Again illuminates music's central role in the design and reception of Stanley Kubrick's films. It brings together archival evidence and close analysis to trace the ways music serves as starting point and inspiration throughout Kubrick's working process. Zusammenfassung We'll Meet Again illuminates music's central role in the design and reception of Stanley Kubrick's films. It brings together archival evidence and close analysis to trace the ways music serves as starting point and inspiration throughout Kubrick's working process. Inhaltsverzeichnis Preface Acknowledgements List of Illustrations Introduction PART I THE ANATOMY OF THE KUBRICK SOUNDSCAPE 1 Language, Lyrics, Voice and Sound 2 Drawing Lines and Crossing Borders: Musical Climates, the Diegetic-Nondiegetic Border and Voice-Over Narration PART II MUSIC-CINEMATIC TOPICS 3 Mysterious Music with Invisible Edges and The Emergence of Musical Form in The Shining 4 Reimagining Music in Barry Lyndon 5 The Mutual Inscription of Music and Drama PART III WE'VE MET BEFORE: FAMILIAR PIECES AND THEIR HISTORIES 6 Evolution and Amnesia in the Soundtrack of 2001: A Space Odyssey 7 Musical Dialectics and The More Troublesome Beethoven 8 Kubrick's Spin on Max Ophüls and the Ineluctable Waltz Coda Select Bibliography Index
