Unsettling Scores

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"By contextualizing the reception of that most German of art forms, music, and mapping its strategic deployment in key fUms, Roger Hillman causes the works discussed here to emerge as powerful counter-examples to virtually eveiy incarnation of the classical Holljrwood paradigm, which tends to position music merely for mood purposes. HiUman's groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing."
Klaus Phillips, HoUins University
UmettLing Scored: German Film, Miiaic, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 1980s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Sy-berberg consciously.called attention to its cultural significance. Through this music their films could reference and, in some casés, explore an embedded cultural tradition that included German... Tovább

Fülszöveg

"By contextualizing the reception of that most German of art forms, music, and mapping its strategic deployment in key fUms, Roger Hillman causes the works discussed here to emerge as powerful counter-examples to virtually eveiy incarnation of the classical Holljrwood paradigm, which tends to position music merely for mood purposes. HiUman's groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing."
Klaus Phillips, HoUins University
UmettLing Scored: German Film, Miiaic, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 1980s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Sy-berberg consciously.called attention to its cultural significance. Through this music their films could reference and, in some casés, explore an embedded cultural tradition that included German nationalism and the rise of Nazism, especially during a period when German films were gaining international attention for the first time since the 1920s. Classical music conditioned the responses of German audiences in the 1970s and 1980s and was, in turn, reinterpreted in new cinematic contexts. In this pioneering volume, Hillman enriches our understanding of the powerful effects of music in cinema and the aesthetic and dramatic concerns of postwar German filmmakers.
ROGER HILLMAN heads the Film Studies Program and convenes the German Studies Program at the Australian National University (Canberra).
Cover photo; Syberberg's spectral Hitler emerging from the grave of Wagner in Hitler: Ein Film atu DeutMhland (1977). Courtesy TMS/Solaris/BBCAVDR / The Kobal Collection. Vissza