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The audiovisual eerie: Transmediating thresholds in the work of David Lynch

Holly Rogers

Holly Rogers is Reader in Music at Goldsmiths, University of London. She is author of Sounding the Gallery: Video and the Rise of Art-Music (2013) and editor of Music and Sound in Documentary Film (2014) and The Music and Sound of Experimental Film (2017). Author affiliation details are correct at time of print publication.

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Transmedia Directors : Artistry, Industry and New Audiovisual Aesthetics

Bloomsbury Academic, 2020

Scholarly Books

...David Lynch’s sonic resonances echo through projects and media. Pulsating room tone, eerie acousmêtre, electronic wash, static drones, thwarted resolutions and remediated retro textures frequently trouble the image, while imploding...

Popular Music and the Religious Screen

The Bloomsbury Handbook of Religion and Popular Music

Bloomsbury Academic, 2017

Scholarly Books

...In the beginning was the Word,And the Word was with God, and the Word was God.And the Word dwelt amongst us as Alanis Morisette. Alanis Morissette (God) at the end of the film Dogma (Directed by Kevin Smith 1999) destroys the two fallen...

‘Let me show you what that song really is’: Nicholas Britell on the music of Moonlight

Transmedia Directors : Artistry, Industry and New Audiovisual Aesthetics

Bloomsbury Academic, 2020

Scholarly Books

...In the ‘diner’ sequence of Barry Jenkins’s 2016 film Moonlight, Chiron, the film’s quiet protagonist, has driven from Atlanta to meet up with Kevin, a friend from his youth, who now runs a greasy spoon in their childhood home city of Miami....

The world of Wes Anderson and Mark Mothersbaugh: Between childhood and adulthood in The Royal Tenenbaums

Transmedia Directors : Artistry, Industry and New Audiovisual Aesthetics

Bloomsbury Academic, 2020

Scholarly Books

...For many years, Wes Anderson’s movies have been described in terms of the director’s unique and distinctive world. The press accompanying The Grand Budapest Hotel (2014) offered to take readers on a ‘Tour of Wes Anderson’s World’, while...

The instrumentarium of Wes Anderson and Alexandre Desplat

Transmedia Directors : Artistry, Industry and New Audiovisual Aesthetics

Bloomsbury Academic, 2020

Scholarly Books

...Wes [Anderson’s] movies are of another world. They come from Wes’ world, which is a very specific and special work of his own. ... So I use my imagination in the same way that he does and try and create first an instrumentarium – a bunch...

If Beale Street Could Talk, what’d be playing in the background? First notes on music, film, time and memory

Transmedia Directors : Artistry, Industry and New Audiovisual Aesthetics

Bloomsbury Academic, 2020

Scholarly Books

...Film and sound recordings are illusory temporal media that require elapsed, clock timeI use this term in the way provided by Tamar Avnet and Anne-Lauer Sellier, ‘Clock Time vs. Event Time: Temporal Culture or Self-regulation?’ Journal...

Joe Hisaishi’s Soundtrack for My Neighbor Totoro

Kunio Hara

Kunio Hara is Associate Professor of Music History at the University of South Carolina, USA. His research focuses on Puccini’s operas, exoticism and orientalism in music, music in postwar Japan, and nostalgia. Author affiliation details are correct at time of print publication.

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Bloomsbury Academic, 2020

33 1/3 Books

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...My Neighbor Totoro is a long-standing international icon of Japanese pop culture that grew out of the partnership between the legendary animator Miyazaki Hayao and the world-renowned composer Joe Hisaishi. A crucial step in the two artists’...
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...As the principal composer of music to soundtrack the mid-twentieth-century popular “spaghetti Western” film genre, Ennio Morricone brought to the form a modernist aesthetic couched within a romantic focus on leitmotif and visual...