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oapen-20.500.12657-317212021-11-12T16:33:40Z Music and Levels of Narration in Film Heldt, Guido Media and Communications film music soundtrack narratology Diegesis bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism This is the first book-length study of the narratology of film music, and an indispensable resource for anyone researching or studying film music or film narratology. It surveys the so far piecemeal discussion of narratological concepts in film music studies, and tries to (cautiously) systematize them, and to expand and refine them with reference to ideas from general narratology and film narratology (including contributions from German-language literature less widely known in Anglophone scholarship). The book goes beyond the current focus of film music studies on the distinction between diegetic and nondiegetic music (music understood to be or not to be part of the storyworld of a film), and takes into account different levels of narration: from the extrafictional to ‘focalizations’ of subjectivity, and music’s many and complex movements between them. 2017-03-16 23:55 2020-03-19 03:00:36 2020-04-01T13:47:14Z 2020-04-01T13:47:14Z 2013-05-13 book 625671 OCN: 1030816396 9781783202096;9781783202102 http://library.oapen.org/handle/20.500.12657/31721 eng application/pdf n/a 625671.pdf Intellect 10.26530/oapen_625671 100296 10.26530/oapen_625671 dba70200-fc42-4588-b068-f9ec198260f0 b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9781783202096;9781783202102 Knowledge Unlatched (KU) Bristol 100296 KU Select 2016 Backlist Collection Knowledge Unlatched open access
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This is the first book-length study of the narratology of film music, and an indispensable resource for anyone researching or studying film music or film narratology. It surveys the so far piecemeal discussion of narratological concepts in film music studies, and tries to (cautiously) systematize them, and to expand and refine them with reference to ideas from general narratology and film narratology (including contributions from German-language literature less widely known in Anglophone scholarship).
The book goes beyond the current focus of film music studies on the distinction between diegetic and nondiegetic music (music understood to be or not to be part of the storyworld of a film), and takes into account different levels of narration: from the extrafictional to ‘focalizations’ of subjectivity, and music’s many and complex movements between them.
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