Unsettling scores : German film, music, and ideology

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書誌事項

Unsettling scores : German film, music, and ideology

Roger Hillman

Indiana University Press, c2005

  • : cloth
  • : pbk

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注記

Includes bibliographical references (p. 199-212) and index

内容説明・目次

巻冊次

: pbk ISBN 9780253217547

内容説明

"Hillman's groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing." -Klaus Phillips, Hollins University Unsettling Scores: German Film, Music, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 80s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Syberberg consciously called attention to its cultural significance. Through this music their films could reference and, in some cases, explore an embedded cultural tradition that included German nationalism and the rise of Nazism, especially during a period when German films were gaining international attention for the first time since the 1920s. Classical music conditioned the responses of German audiences and was, in turn, reinterpreted in new cinematic contexts. In this pioneering volume, Hillman enriches our understanding of the powerful effects of music in cinema and the aesthetic and dramatic concerns of postwar German filmmakers.

目次

Acknowledgments Introduction 1. Establishing a Tonal Center 2. Music as Cultural Marker in German Film 3. History on the Soundtrack: The Example of Beethoven's Ninth 4. A Wagnerian German Requiem: Syberberg's Hitler (1977) 5. Alexander Kluge's Songs without Words: Die Patriotin (1979) 6. Fassbinder's Compromised Request Concert: Lili Marleen (1980) 7. The Great Eclecticism of the Filmmaker Werner Herzog 8. Pivot Chords: Austrian Music and Visconti's Senso (1954) Conclusion: Film Music and Cultural Memory Notes Select Bibliography Index
巻冊次

: cloth ISBN 9780253345370

内容説明

Unsettling Scores: German Film, Music, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 80s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Syberberg consciously called attention to its cultural significance. Through this music their films could reference and, in some cases, explore an embedded cultural tradition that included German nationalism and the rise of Nazism, especially during a period when German films were gaining international attention for the first time since the 1920s. Classical music conditioned the responses of German audiences and was, in turn, reinterpreted in new cinematic contexts. In this pioneering volume, Hillman enriches our understanding of the powerful effects of music in cinema and the aesthetic and dramatic concerns of postwar German filmmakers. Roger Hillman heads the Film Studies Program and convenes the German Studies Program at the Australian National University. He lives in Cook, Australia.

目次

  • Establishing a tonal center
  • Music as cultural marker in German film
  • History on the soundtrack: The example of Beethoven's Ninth
  • A Wagnerian German Requiem: Syberberg's Hitler (1977)
  • Alexander Kluge's Songs without Words: Die Patriotin (1979)
  • Fassbinder's compromised request concert: Lili Marleen (1980)
  • The great eclecticism of the filmmaker Werner Herzog
  • Pivot Chords: Austrian music and Visconti's Senso (1954)
  • Conclusion: Film music and cultural memory

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