Changing Tunes: The Use of Pre-existing Music in FilmPhil Powrie, Robynn Jeananne Stilwell The contributors in this volume discuss the use of pre-existing classical and popular music in film, focusing on a diverse range of case-study examples including Kubrick's '2001', 'Godfather III', 'Brief Encounter', 'Pulp Fiction' and 'Trainspotting'. |
Contents
Kubricks Music | 3 |
The Fabulous Destiny of the Accordion in French Cinema | 10 |
Using Classical Music in Film | 19 |
Bizets Carmen and the Cinema | 46 |
The Troll Among | 74 |
The Bolero Camp and Almodóvar | 91 |
Music Electricity and the Sweet Mystery of Life | 105 |
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Common terms and phrases
accompanied accordion Adorno aesthetic Alice Amadeus Amélie appears artefact artistic ASIN audience Bill Bill's Bizet's bolero Brief Encounter Britpop camera camp Carmen films Carmen Jones Cavalleria rusticana characters cinema classical music composer concerto connotations context conventional Coppola Corleone creature dance death diegetic emotional example excerpt Eyes Wide Shut film music film score film's Frankenstein story French function gender genre girls Godfather Godfather films Godfather Part III Golem Gorbman Grieg's Hall high culture historical hybrid Ibsen Iggy Pop Intermezzo Kubrick leitmotif Ligeti Mascagni's masculine melody Michael Mountain King Mozart narrative opening opera house orchestral original Pedro Almodóvar Peer Gynt performance piano piece play pleasure popular music popular songs postmodern pre-existing music Preghiera record relationship rhythm ritual role romantic Rosi's Salieri scene sequence sexual signify singer singing sound soundtrack stage structural style theme traditional Trainspotting troll tune Turridù underscore visual voice waltz whilst Young Frankenstein