Titlebook: Contemporary Film Music; Investigating Cinema Lindsay Coleman,Joakim Tillman Book 2017 The Editor(s) (if applicable) and The Author(s) 2017

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Zbigniew Preisner Interview,ationships have varied over the years. Preisner talks about the challenges of capturing a film’s tone in its music, a particular example being his work on the film . (1992). There is also a discussion of how music reinforces themes and aids in characterization in the films of Kie?lowski, specificall

neuron

,Music by Zbigniew Preisner? Fictional Composers and Compositions in the Kie?lowski Collaborations,etwork stretches from their first project—. (1985)—to their last—. (1994)—and is exemplified most obviously by the fictitious eighteenth-century composer Van den Budenmayer and the pieces ‘by’ him that feature across several films, and the central composer characters and their music in . (1993). Thi

音樂(lè)學(xué)者

modest

高調(diào)

Rachel Portman Interview,oint of view struck in the score for . (1999) is more that of the character Dr Larch than the film’s presumptive hero Homer. She discusses how she goes about chord formations for her scores, and also goes into a quite detailed discussion of how her creative process as a composer works.

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,Eero Tarasti and the Narratological Construction of Rachel Portman’s ,, a given innate point of view informs the gestural components of the music. Whether it is the duelling masculine embodiments of Homer and Dr Larch in the score for . (1999) or the innately feminine components of the titular character of . (1996), Portman maintains a strong narratological hand in her

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新鮮

入會(huì)

John Williams and Contemporary Film Music, since academic studies of his work are rare. Moreover, when discussed critically, if not academically, the take on Williams’s work is often oversimplified if not prejudiced. On the other hand, the stylistic influence of Williams’s work on contemporary scoring has also been overstated by fans and fa

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