Normal view MARC view ISBD view

Cinema changes : incorporations of jazz in the film soundtrack / edited by Emile Wennekes and Emilio Audissino.

Contributor(s): Wennekes, Emile [edt] | Audissino, Emilio [edt].
Series: Speculum Musicae: 34Publisher: Turnhout : Brepols, [2019]Copyright date: ©2019Description: xxvi, 334 sidor illustrationer, musiknoter.Content type: text Media type: unmediated Carrier type: volumeISBN: 9782503584478.Subject(s): Filmmusik | Jazz i filmenGenre/Form: SamlingsverkDDC classification: 781.542
Contents:
Innehåll: Out of tune? Jazz, film and the diegesis / Emile Wennekes -- Jazzin' the silents: jazz and improvised music in contemporary scores for silent film / Phillip Johnston -- Cinema: a privileged way pf acquiring intimacy with jazz standards / Luca Stoll -- Play, my fiddle, play! Jazz and klezmer at the end of the 1930s / Marida Rizzuti -- Ethel Waters and the search for racial redemption / Randall Cherry -- The multiform identity of jazz in Hollywood: an assessment through the John Williams case study / Emilio Audissino -- Rhythms of the everyday: an alternative history of the British jazz film / Nicolas Pillai -- Jazz and cinema: which jazz for which movies in France from 1945 to the early 1960s? / Philippe Gonin -- From the chotis to the charleston: jazz in Spanish films prior to the Civil War / Julio Arch, Celsa Alonso -- Jazz music in Michelangelo Antonioni's films / Roberto Calabretto -- When jazz meets German cinema: a brief overview / Willem Strank -- A song helps us live: the narrative function of jazz in the Soviet musical film Jolly fellows / Jason R. Hillebrand -- The sound of the nightmares: on the jazz music in Fritz Lang's Metropolis / Francesco Finocchiaro, Leo Izzo -- Dignity in the twilight of minstrelsy: race, nuance and aspiration in Duke Ellington's Symphony in black: a rhapsody of negro life / Ryan Patrick Jones -- The blues and dissonance in Michelangelo Antonioni's Blow-up / Adam Biggs -- Umiliani, Trovajoli and Rota: the jazz film score of Boccaccio '70 / Armando Ianniello -- Synergetic jazz score: the narrative of the relation between the diegetic and nondiegetic music in Whiplash / Marcel Bouvrie -- "The same goddamn songs the same goddamn way"? Makin' whoopee with The fabulous Baker boys / Mervyn Cooke
Summary: Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new “multimedia” art form, soon incorporating music as one of cinema’s privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music — in various form and with diverse and changing racial/social connotations — appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level
List(s) this item appears in: Nyförvärv musiklitteratur
Item type Current location Call number Status Date due Barcode Item holds
Book Musik- och teaterbiblioteket
Biblioteket
A 6398 Available 26201854909
Total holds: 0

Innehåller bibliografi och index

Innehåll: Out of tune? Jazz, film and the diegesis / Emile Wennekes -- Jazzin' the silents: jazz and improvised music in contemporary scores for silent film / Phillip Johnston -- Cinema: a privileged way pf acquiring intimacy with jazz standards / Luca Stoll -- Play, my fiddle, play! Jazz and klezmer at the end of the 1930s / Marida Rizzuti -- Ethel Waters and the search for racial redemption / Randall Cherry -- The multiform identity of jazz in Hollywood: an assessment through the John Williams case study / Emilio Audissino -- Rhythms of the everyday: an alternative history of the British jazz film / Nicolas Pillai -- Jazz and cinema: which jazz for which movies in France from 1945 to the early 1960s? / Philippe Gonin -- From the chotis to the charleston: jazz in Spanish films prior to the Civil War / Julio Arch, Celsa Alonso -- Jazz music in Michelangelo Antonioni's films / Roberto Calabretto -- When jazz meets German cinema: a brief overview / Willem Strank -- A song helps us live: the narrative function of jazz in the Soviet musical film Jolly fellows / Jason R. Hillebrand -- The sound of the nightmares: on the jazz music in Fritz Lang's Metropolis / Francesco Finocchiaro, Leo Izzo -- Dignity in the twilight of minstrelsy: race, nuance and aspiration in Duke Ellington's Symphony in black: a rhapsody of negro life / Ryan Patrick Jones -- The blues and dissonance in Michelangelo Antonioni's Blow-up / Adam Biggs -- Umiliani, Trovajoli and Rota: the jazz film score of Boccaccio '70 / Armando Ianniello -- Synergetic jazz score: the narrative of the relation between the diegetic and nondiegetic music in Whiplash / Marcel Bouvrie -- "The same goddamn songs the same goddamn way"? Makin' whoopee with The fabulous Baker boys / Mervyn Cooke

Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new “multimedia” art form, soon incorporating music as one of cinema’s privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music — in various form and with diverse and changing racial/social connotations — appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level

Musik- och teaterbiblioteket
Besöksadress: Torsgatan 19, plan 5, Stockholm
exp@musikverket.se / 08-519 554 12

Öppettider:
måndag - onsdag 13.00 - 17.00
torsdag 13.00 - 19.00