Unsettling Scores: German Film, Music, and Ideology

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Indiana University Press, 2005 - Performing Arts - 219 pages
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"Hillman's groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing." --Klaus Phillips, Hollins University

Unsettling Scores: German Film, Music, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 80s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Syberberg consciously called attention to its cultural significance. Through this music their films could reference and, in some cases, explore an embedded cultural tradition that included German nationalism and the rise of Nazism, especially during a period when German films were gaining international attention for the first time since the 1920s. Classical music conditioned the responses of German audiences and was, in turn, reinterpreted in new cinematic contexts. In this pioneering volume, Hillman enriches our understanding of the powerful effects of music in cinema and the aesthetic and dramatic concerns of postwar German filmmakers.

 

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Contents

Introduction
1
Establishing a Tonal Center
7
Music as Cultural Marker in German Film
24
History on the Soundtrack The Example
47
A Wagnerian German Requiem Syberbergs
66
Alexander Kluges Songs without Words
89
Fassbinders Compromised Request Concert
110
The Great Eclecticism of the Filmmaker
136
Pivot Chords Austrian Music and Viscontis
151
Film Music and Cultural Memory
163
Notes
169
Select Bibliography
199
Index
213
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About the author (2005)

Roger Hillman heads the Film Studies Program and convenes the German Studies Program at the Australian National University. He lives in Cook, Australia.

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