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A History Of Film Music Mervyn Cooke Pdf Download [HOT]
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Giovanni Prosperedi is Senior Lecturer in Film Studies at the University of Southampton, UK. He has published on the history of early film music, and has edited Film Music Between the Wars, Studies in the History of European Cinema, and The Sounds of Silent Films: New Perspectives on History, Theory and Practice. His critical work has appeared in journals such as Journal of Film and Video, Cinema Journal, and Film Music and Sound Studies. He is currently working on a project to develop a digital archive of early European cinema.
Throughout the study, I have used a theoretical model comprising neo-formalist, gestalt, and cinematic theories as my frameworks for analysing the music of Accattone. In the first part, I have considered the meaning of the music as it is enacted in the film, and why it is deployed in the film in the way that it is. I have considered the relationship of the music to the visual world of the film, the uses of the music during the course of the film, and the relation between music and the text. I also considered the deeper psychological levels, using the perception of the film as a location for aesthetics, and in the last chapter the role of the music in the relationship between the spectator and the film. The section on reception considers the music in relation to both the film and to the audience and the critic. The final chapter explores the ways in which critics have engaged with the film and music. Through this study, I hope to encourage research into the musical elements of film and to stimulate debate and discussion about the use of music and film.
This approach has opened the door for musicologists and film historians to compare and contrast the stylistic features of the music of Accattone with those of the music that has been used in other films. Beginning with a consideration of the broader historical context, it develops the musical analysis by means of a detailed consideration of the film. This includes description of the context of the film (e.g. the cultural, economic, sociopolitical, and audience/critic backgrounds), followed by a detailed analysis of the score. The analysis considers the form, texture, and content of the music, alongside its effects on the image, and finally asks how it has been received by audiences and critics.
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