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Composing for the Screen in Germany and the USSR: Cultural Politics and Propaganda
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Product Description
Despite the long history of music in film, its serious academic study is still a relatively recent development and therefore comprises a limited body of work. The contributors to this book, drawn from both film studies and musicology, attempt to rectify this oversight by investigating film music from the vibrant, productive, politically charged period before World War II. They apply a variety of methodologies -- including archival work, close readings, political histories, and style comparison -- to this under explored field.
Product Details
- Amazon Sales Rank: #869050 in Books
- Published on: 2007-12-05
- Original language: English
- Number of items: 1
- Binding: Paperback
- 200 pages
Editorial Reviews
Review
"Music became a key ingredient in the propaganda machines developed by the National Socialists and Stalin, an art both to regulate and exploit. Indeed, it is impossible to speak of film music in these countries during the early sound era without considering the political implications of compositional choice and the relationship between music and image." -- from the introduction
"... a valuable contribution to the growing body of film-music scholarship." -- Stephen Meyer, Syracuse University, German Studies Review, Vol 32.2 May 2009
From the Publisher
"Music became a key ingredient in the propaganda machines developed by the National Socialists and Stalin, an art both to regulate and exploit. Indeed, it is impossible to speak of film music in these countries during the early sound era without considering the political implications of compositional choice and the relationship between music and image." --from the introduction
About the Author
Phil Powrie is Professor of French Cultural Studies at the University of Newcastle upon Tyne. Most recently, he is co-author (with Bruce Babington, Ann Davies, and Chris Perriam) of Carmen on Film: A Cultural History (IUP, 2007).
Robynn Stilwell is Assistant Professor of Music in the Department of Art, Music and Theatre at Georgetown University. She is co-editor (with Phil Powrie) of Changing Tunes: The Use of Pre-existing Music in Film.
