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Zusatztext 'In this provocative and ground-breaking study! Kulezic-Wilson considers how film itself can be "musical". This book does not simply highlight the importance of music in film or even the importance of music to filmmakers! but rather demonstrates the centrality of rhythm! gesture! movement! flow! timing and space to the very medium of film! revealing musicality as one of its most important driving forces.' - Miguel Mera! City University London! UK 'The idea that cinema is! in a way! "sort of" like music has been around for quite a while! but Kulezic-Wilson digs more deeply into the art forms' shared qualities than anyone before her. This book is an invitation to experience at least certain films in a whole new way.' - James Wierzbicki! University of Sydney! Australia Informationen zum Autor Danijela Kulezic-Wilson is Lecturer in the School of Music and Theatre at University College Cork, Ireland. She has published in journals such as Music and the Moving Image, Film and Film Culture, The New Soundtrack and Music, Sound and the Moving Image, and has worked as a music editor on documentaries, short films and television. Klappentext The Musicality of Narrative Film is the first book to examine in depth the film/music analogy. Using comparative analysis, Kulezic-Wilson explores film's musical potential, arguing that film's musicality can be achieved through various cinematic devices, with or without music. Zusammenfassung The Musicality of Narrative Film is the first book to examine in depth the film/music analogy. Using comparative analysis! Kulezic-Wilson explores film's musical potential! arguing that film's musicality can be achieved through various cinematic devices! with or without music. Inhaltsverzeichnis List of Figures Acknowledgments 1. Introduction 2. Music as Model and Metaphor 3. The Musicality of Film Rhythm 4. The Rhythm of Rhythms 5. Musical and Film Kinesis 6. The Symbolic Nature of Musical and Film Time 7. Jim Jarmusch's Dead Man and the Rhythm of Musical Form 8. Hip Hop and Techno Composing Techniques and Models of Structuring in Darren Aronofsky's ? 9. Audio-Visual Musicality and Reflexivity in Joe Wright's Anna Karenina Conclusion Bibliography Filmography...
List of contents
List of Figures Acknowledgments 1. Introduction 2. Music as Model and Metaphor 3. The Musicality of Film Rhythm 4. The Rhythm of Rhythms 5. Musical and Film Kinesis 6. The Symbolic Nature of Musical and Film Time 7. Jim Jarmusch's Dead Man and the Rhythm of Musical Form 8. Hip Hop and Techno Composing Techniques and Models of Structuring in Darren Aronofsky's ? 9. Audio-Visual Musicality and Reflexivity in Joe Wright's Anna Karenina Conclusion Bibliography Filmography
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'In this provocative and ground-breaking study, Kulezic-Wilson considers how film itself can be "musical". This book does not simply highlight the importance of music in film or even the importance of music to filmmakers, but rather demonstrates the centrality of rhythm, gesture, movement, flow, timing and space to the very medium of film, revealing musicality as one of its most important driving forces.' - Miguel Mera, City University London, UK
'The idea that cinema is, in a way, "sort of" like music has been around for quite a while, but Kulezic-Wilson digs more deeply into the art forms' shared qualities than anyone before her. This book is an invitation to experience at least certain films in a whole new way.' - James Wierzbicki, University of Sydney, Australia
