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Seeing Through Music - Gender and Modernism in Classic Hollywood Film Scores (Hardcover)
Loot Price: R1,630
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Seeing Through Music - Gender and Modernism in Classic Hollywood Film Scores (Hardcover)
Series: Oxford Music/Media Series
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Hollywood film music is often mocked as a disreputably 'applied'
branch of the art of composition that lacks both the seriousness
and the quality of the classical or late-romantic concert and
operatic music from which it derives. Its composers in the 1930s
and '40s were themselves often scornful of it and aspired to
produce more 'serious' works that would enhance their artistic
reputation.
In fact the criticism of film music as slavishly descriptive or
manipulatively over-emotional has a history that is older than film
- it had even been directed at the relatively popular operatic and
concert music written by some of the emigre Hollywood composers
themselves before they had left Europe. There, as subsequently in
America, such criticism was promoted by the developing project of
Modernism, whose often high-minded opposition to mass culture used
polarizing language that drew, intentionally or not, upon that of
gender difference. Regressive, late-romantic music, the old
argument ran, was -- as women were believed to be -- emotional,
irrational, and lacking in logic.
This book seeks to level the critical playing field between film
music and "serious music," reflecting upon gender-related ideas
about music and modernism as much as about film. Peter Franklin
broaches the possibility of a history of twentieth-century music
that would include, rather than marginalize, film music -- and,
indeed, the scores of a number of the major Hollywood movies
discussed here, like The Bride of Frankenstein, King Kong, Rebecca,
Gone With The Wind, Citizen Kane and Psycho. In doing so, he brings
more detailed music-historical knowledge to bear upon cinema music,
often discussed as a unique and special product of film, and also
offers conclusions about the problematic aspects of musical
modernism and some arguably liberating aspects of
"late-romanticism."
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