James Buhler – författare
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12 produkter
12 produkter
E-bok
Engelska, 2018477 kr
Läs direkt efter köp
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.
Inbunden, Engelska, 2018
1 317 kr
Skickas inom 5-8 vardagar
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.
Häftad, Engelska, 2018
422 kr
Skickas inom 5-8 vardagar
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.
E-bok
PDF, Engelska, 2018495 kr
Läs direkt efter köp
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.
Inbunden, Engelska, 2020
1 411 kr
Skickas inom 5-8 vardagar
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
E-bok
Engelska, 2020378 kr
Läs direkt efter köp
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
Häftad, Engelska, 2020
330 kr
Skickas inom 5-8 vardagar
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
Inbunden, Engelska, 2020
2 250 kr
Skickas inom 10-15 vardagar
Music in Action Film is the first volume to address the central role of music and sound in action film—arguably the most dominant form of commercial cinema today. Bringing together 15 essays by established and emerging scholars, the book encompasses both Hollywood blockbusters and international films, from classic works such as The Seven Samurai to contemporary superhero franchises. The contributors consider action both as genre and as a mode of cinematic expression, in chapters on evolving musical conventions; politics, representation, and identity; musical affect and agency; the functional role of music and sound design in action film; and production technologies. Breaking new critical ground yet highly accessible, this book will be of interest to students and scholars of music and film studies.
Häftad, Engelska, 2020
702 kr
Skickas inom 10-15 vardagar
Music in Action Film is the first volume to address the central role of music and sound in action film—arguably the most dominant form of commercial cinema today. Bringing together 15 essays by established and emerging scholars, the book encompasses both Hollywood blockbusters and international films, from classic works such as The Seven Samurai to contemporary superhero franchises. The contributors consider action both as genre and as a mode of cinematic expression, in chapters on evolving musical conventions; politics, representation, and identity; musical affect and agency; the functional role of music and sound design in action film; and production technologies. Breaking new critical ground yet highly accessible, this book will be of interest to students and scholars of music and film studies.
Häftad, Engelska, 2000
521 kr
Skickas inom 3-6 vardagar
Music and Cinema brings together leading scholars from musicology, music theory, film studies, and cultural studies to explore the importance of music in the cinematic construction of ideologies. The 15 essays include "Songlines: Alternative Journeys in Contemporary European Cinema" by Wendy Everett; "Strategies of Remembrance: Music and History in the New German Cinema" by Caryl Flinn; "Designing Women: Art Deco, the Musical, and the Female Body" by Lucy Fischer; "Kansas City Dreamin': Robert Altman's Jazz History Lesson" by Krin Gabbard; "Disciplining Josephine Baker: Gender, Race, and the Limits of Disciplinarity" by Kathryn Kalinak; "Finding Release: Storm Clouds and The Man Who Knew Too Much" by Murray Pomerance, and many more.
E-bok
Engelska, 2020831 kr
Läs direkt efter köp
Music in Action Film is the first volume to address the central role of music and sound in action film—arguably the most dominant form of commercial cinema today.
Bringing together 15 essays by established and emerging scholars, the book encompasses both Hollywood blockbusters and international films, from classic works such as The Seven Samurai to contemporary superhero franchises. The contributors consider action both as genre and as a mode of cinematic expression, in chapters on evolving musical conventions; politics, representation, and identity; musical affect and agency; the functional role of music and sound design in action film; and production technologies.
Breaking new critical ground yet highly accessible, this book will be of interest to students and scholars of music and film studies.
E-bok
PDF, Engelska, 2020831 kr
Läs direkt efter köp
Music in Action Film is the first volume to address the central role of music and sound in action film—arguably the most dominant form of commercial cinema today.
Bringing together 15 essays by established and emerging scholars, the book encompasses both Hollywood blockbusters and international films, from classic works such as The Seven Samurai to contemporary superhero franchises. The contributors consider action both as genre and as a mode of cinematic expression, in chapters on evolving musical conventions; politics, representation, and identity; musical affect and agency; the functional role of music and sound design in action film; and production technologies.
Breaking new critical ground yet highly accessible, this book will be of interest to students and scholars of music and film studies.