Terror tracks : music, sound and horror cinema
Author(s)
Bibliographic Information
Terror tracks : music, sound and horror cinema
（Genre, music and sound）
Equinox, 2009
- : pbk.
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Note
Includes bibliographical references and index
Contents of Works
- Psycho-analysis : form and function in Bernard Herrmann's music for Hitchcock's Masterpiece / James Wierzbicki
- An audiovisual foreshadowing in Psycho / Scott Murphy
- Sound and music in Hammer's vampire films / Michael Hannan
- Creative soundtrack expression : Tôru Takemitsu's score for Kwaidan / Kyoko Koizumi
- Prog rock, the horror film and sonic excess : Dario Argento, Morricone and Goblin / Tony Mitchell
- Inflamed : synthetic folk music and paganism in the island world of The wicker man / Jon Fitzgerald and Philip Hayward
- Rhythms of evil : exorcising sound from The exorcist / Mark Evans
- Texas chainsaws : audio effect and iconicity / Rebecca Coyle and Philip Hayward
- Incorporating monsters : music as context, character and construction in Kubrick's The shining / Jeremy Barham
- Music of the night : scoring the vampire in contemporary film / Janet K. Halfyard
- Scary movies, scary music : uses and unities of metal in the contemporary horror film / Lee Barron and Ian Inglis
- "Like razors through flesh" : Hellraiser's sound design and music / Karen Collins
- Spooked by sound : the Blair witch project / Rebecca Coyle
- Popular songs and ordinary violence : exposing basic human brutality in the films of Rob Zombie / Laura Wiebe Taylor
- Terror in the outback : Wolf Creek and Australian horror cinema / Philip Hayward and Harry Minassian
- The ghostly noise of J-horror : roots and ramifications / James Wierzbicki
Description and Table of Contents
Description
Commissioned and edited to appeal to a crossover Film and Music Studies readership, "Terror Tracks" is an anthology that analyses the use of music and sound in the popular genre of Horror cinema. Focusing on the post-War period, contributors analyse the role of music and sound in establishing and enhancing the senses of unease, suspense and shock crucial to the genre. The anthology shows the various patterns of use an inflection in a range of scores - orchestral, popular, rock and electronic - and how these relate to non-musical sound. Lively and accessible, "Terror Tracks" is an important contribution to study of Horror cinema.
Table of Contents
Introduction: Scoring The Edge -- Philip Hayward1) Psycho-Analysis: Form and Function in Bernard Herrmann's Music for Hitchcock's Masterpiece -- James Wierzbicki2) An Audiovisual Foreshadowing in the First Thirty Seconds of the Last Eight Minutes of Psycho -- Scott Murphy3) Sound and Music in Hammer's Vampire Films -- Michael Hannan4) Creative Soundtrack Expression: Toro Takemitsu's Score for Kwaidan -- Kyoko Koizumi5) Prog Rock, the Rock, the Horror Film and Sonic Excess: Dario Argento, Morricone and Goblin -- Tony Mitchell6) Inflamed: Synthetic folk music and paganism in the island world of The Wicker Man -- Jon Fitzgerald and Philip Hayward7) Rhythms of Evil: Exorcising Sound from The Exorcist -- Mark Evans8) Texas Chainsaws: Audio Effect and Iconicity -- Rebecca Coyle and Philip Hayward9) Incorporating Monsters: Music as Context, Character and Construction in Kubrick's The Shining -- Jeremy Barham.10) Music of the Night: scoring the vampire in contemporary film -- Janet K. Halfyard11) Scary Movies, Scary Music: Uses and Unities of Metal in the Contemporary Horror Film -- Lee Barron and Ian Inglis12) 'Like Razors through Flesh': Hellraiser's Sound Design and Music -- Karen Collins13) Spooked by Sound: The Blair Witch Project -- Rebecca Coyle14) Popular Songs and Ordinary Violence: Exposing Basic Human Brutality in the Films of Rob Zombie -- Laura Wiebe Taylor15) Terror in the Outback: Wolf Creek and Australian Horror Cinema -- Philip Hayward and Harry Minassian16) The Ghostly Noise of J-Horror: Roots and Ramifications -- James Wierzbicki
by "Nielsen BookData"