Popular Music and the New Auteur: Visionary Filmmakers after MTV

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9780199827350: Popular Music and the New Auteur: Visionary Filmmakers after MTV
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MTV utterly changed the movies. Since music television arrived some 30 years ago, music videos have introduced filmmakers to a new creative vocabulary: speeds of events changed, and performance and mood came to dominate over traditional narrative storytelling. 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. These filmmakers demonstrate a fresh kind of cinematic musicality by writing against pop songs rather than against script, and allowing popular music a determining role in narrative, imagery, and style. Featuring important new theoretical work by some of the most 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 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.

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About the Author:


Arved Ashby is Professor of Music at The Ohio State University. He is editor of The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology (2004) and author of Absolute Music, Mechanical Reproduction (2010).

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Not only is the auteur not dead, but many contemporary directors' films sing in distinctive ways. Ashby's collection is timely and brilliantly focused, revealing the key musical dimension to filmmakers we thought we knew. * Claudia Gorbman, author of Unheard Melodies: Narrative Film Music * Popular Music and the New Auteur is an important collection. These essays demonstrate how certain contemporary directors use the selection of popular music in startling and innovative ways to imprint their films with a distinct musical signature. * James Buhler, co-author of Hearing the Movies: Music and Sound in Film History (2009) *

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Book Description Oxford University Press Inc, United States, 2013. Paperback. Condition: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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. Seller Inventory # BTE9780199827350

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Book Description Oxford University Press Inc, United States, 2013. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. 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. Seller Inventory # APC9780199827350

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Book Description Oxford University Press Inc, United States, 2013. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.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. Seller Inventory # APC9780199827350

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Book Description Oxford University Press. Paperback. Condition: New. 240 pages. Dimensions: 9.1in. x 6.1in. x 0.6in.MTV utterly changed the movies. Since music television arrived some 30 years ago, music videos have introduced filmmakers to a new creative vocabulary: speeds of events changed, and performance and mood came to dominate over traditional narrative storytelling. 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. These filmmakers demonstrate a fresh kind of cinematic musicality by writing against pop songs rather than against script, and allowing popular music a determining role in narrative, imagery, and style. Featuring important new theoretical work by some of the most 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 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. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Seller Inventory # 9780199827350

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