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Books > Arts & Architecture > Music > Western music, periods & styles > 20th century music
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Robert Altman's Soundtracks - Film, Music, and Sound from M*A*S*H to A Prairie Home Companion (Hardcover)
Loot Price: R1,290
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Robert Altman's Soundtracks - Film, Music, and Sound from M*A*S*H to A Prairie Home Companion (Hardcover)
Series: Oxford Music/Media Series
Expected to ship within 12 - 17 working days
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American director Robert Altman (1925-2006) first came to national
attention with the surprise blockbuster M*A*S*H (1970), and he
directed more than thirty feature films in the subsequent decades.
Critics and scholars have noted that music is central to Altman's
films, and in addition to his feature films, Altman worked in
theater, opera, and the emerging field of cable television. His
treatment of sound is a hallmark of his films, alongside
overlapping dialogue, improvisation, and large ensemble casts.
Several of his best-known films integrate musical performances into
the central plot, including Nashville (1975), Popeye (1980), Short
Cuts (1993), Kansas City (1996), The Company (2003) and A Prairie
Home Companion (2006), his final film. Even such non-musicals as
McCabe and Mrs. Miller (1971) have been described as, in fellow
director and protege Paul Thomas Anderson's evocative phrase, as
"musicals without people singing." Robert Altman's Soundtracks
considers Altman's celebrated, innovative uses of music and sound
in several of his most acclaimed and lesser-known works. In so
doing, these case studies serve as a window not only into Altman's
considerable and varied output, but also the changing film industry
over nearly four decades, from the heyday of the New Hollywood in
the late 1960s through the "Indiewood" boom of the 1990s and its
bust in the early 2000s. As its frame, the book will consider the
continuing attractions of auteurism inside and outside of scholarly
discourse, by considering Altman's career in terms of the
director's own self-promotion as a visionary and artist; the film
industry's promotion of Altman the auteur; the emphasis on Altman's
individual style, including his use of music, by the director,
critics, scholars, and within the industry; and the processes,
tensions, and boundaries of collaboration.
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