Popular Music and the New Auteur: Visionary Filmmakers After MTV
OUP USA, 2013 - Music - 217 pages
Movies have never been the same since MTV. While the classic symphonic film score promised direct insight into a character's mind, the expanded role of popular music has made more ambiguous the question of when, if ever, we are allowed to see or share a character's emotions. As a result, the potential for irony and ambiguity has multiplied exponentially, and characterization and narrative capacities have fragmented. At the most basic level, this new aesthetic has required filmgoers to renegotiate some of their most basic instinctual connections with the human voice and with any sense of a filmmaking self. Music videos widened the creative vocabulary of filmmaking: they increased speeds of event in cinema and deflecting filmmakers from narrative, characterization, and storytelling toward a concentration on situation, feeling, mood, and time. Popular Music and the New Auteur charts the impact of music videos on seven visionary directors: Martin Scorsese, Sofia Coppola, David Lynch, Wong Kar-Wai, the Coen brothers, Quentin Tarantino, and Wes Anderson. Ashby and his contributors define these filmmakers' relation to the soundtrack as their key authorial gesture. These filmmakers demonstrate a fresh kind of cinematic musicality by writing against music rather than against script, and allowing pop songs a determining role in narrative and imagery. Featuring important new theoretical work by some of the most stimulating and provocative writers in the area today, Popular Music and the New Auteur will be required reading for all who study film music and sound. It will also be particularly relevant for readers in popular music studies, and its intervention in the ongoing debate on auteurism will make it necessary reading in film studies.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
action album allusions Anderson audience auteurism auteurist authenticity become Big Lebowski Blood Simple Blue Velvet camera character’s characters classical Coen brothers compilation soundtrack contemporary conventional create critical cues cultural Danny Boy David Lynch Death Proof digression director discussion Dreams Dude editing emotional fantasy world Fiction figure Film Music film’s filmmaker Fred function genre Goodfellas Gorbman guitar hear Henry’s high-concept Hollywood images Inglourious Basterds irony jukebox Kill Bill kind Kubrick Leo’s Li-zhen Lost Highway main titles Martin Scorsese Mo-wan moments montage movie Mulholland Drive music video musical aesthetic narration narrative Nian Hua non-diegetic on-screen performance Pete play pop music pop songs popular music postmodern reality records rhythm rock role Royal Tenenbaums scene score Scorsese on Scorsese Scorsese’s script Seeger’s seems selection sense sequence shot Sofia Coppola song’s sound soundtrack specific stylistic tempo theme tion underscoring University Press vérité viewer visual Wong Kar-wai Wong’s York