Contemporary Film Music

Lindsay Coleman is an independent film academic, journalist and educator. He is the author of Transnational Cinematography Studies (2017) and Sex and Storytelling in Modern Cinema (2015). Coleman is working on a series of books on modern cinema and also a documentary series on the history of visual effects.Joakim Tillman is Associate Professor in Musicology at Stockholm University, Sweden. His research has appeared in numerous scholarly journals and edited volumes, for instance the essay Topoi and Intertextuality: Narrative Function in Hans Zimmer’s and Lisa Gerrard’s Music to Gladiator in Music in Epic Film: Listening to Spectacle (2017).

• 1. Film Composition in the 21st Century.Lindsay Coleman & Joakim Tillman.-2.  Zbigniew Priesner.-Van den Budenmayer, Three Colours:  Red (1994), Three Colours: Blue (1993), The Double Life of Veronique (1989).Music by Zbigniew Preisner?: Fictional Ccomposers and Ccompositions in the Kieślowski collaborations.Jonathan Godsall.-3. Mychael Danna.-Mychael Danna and the Modern Conundrum of World Music: An Analysis of Life of Pi and The Ice Storm.Peter Golub and Katy Jarzebowski.-4. Carter Burwell.-Carter Burwell and Space: Inner, Outer, Environmental and Acoustic.Andrew Waggoner.-5. Rachel Portman.-Eero Tarasti and the Narratological Construction of Rachel Portman's Emma.Lindsay Coleman.-6. Elliot Goldenthal.-Conversations with Past and Present: Stylistic Pluralism and Leitmotif Technique in the film music of Elliot Goldenthal.Joakim Tillman.-7. Dario Marianelli.-Dario Marianelli and the Voice of the Cello:  The Gendering of Musical Solos in Atonement, Pride and Prejudice, and Jane Eyre.Lindsay Coleman & Joakim Tillman.-8. A.R. Rahman.The 'Alternate Space' of A.R. Rahman's Film Music.Felicity Wilcox.-9. John Williams.-The Scores of John Williams: Sentence and Period.Emilio Audissino & Konstantinos Zacharopoulos