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LEADER 02393cam 22003974a 4500

001 ocm51728735;

003 OCoLC;

005 20141212175444.0;

008 030212s2004 enka b 000 0 eng ;

010 a| 2003041873;

020 a| 0754605825 (alk. paper);

035 a| (Sirsi) o51728735;

035 a| (OCoLC)51728735;

040 a| DLCc| DLCd| EREd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML2075b| .D39 2004;

082 00 a| 781.5/422| 21;

100 1 a| Davison, Annette,d| 1971-=| ^A581365;

245 10 a| Hollywood theory, non-Hollywood practice :b| cinema soundtracks in the 1980s and 1990s /c| Annette Davison.;

300 a| x, 221 pages :b| illustrations ;c| 25 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Ashgate popular and folk music series;

504 a| Includes bibliographical references (pages 200-209).;

505 00 t| Classical Hollywood cinema and scoring --t| New Hollywood cinema and 'post-'? classical scoring --g| Alternatives to classical Hollywood scoring --t| 'What is the role of the quartet?': the soundtrack to Jean-Luc Godard's Prénom: Carmen --t| Playing in Jarman's Garden: sound, performance and images of persecution --g| Music to desire by:t| the soundtrack to Wim Wenders's Der Himmel über Berlin --t| 'People call me a director, but I really think of myself as a sound-man': David Lynch's Wild at Heart.;

520 a| Relatively little has been written about film scores and soundtracks outside of Hollywood cinema. This book addresses this gap by looking at the practices of film soundtrack composition for non-Hollywood films made after 1980. The author argues that since the mid-1970s the model of the classical Hollywood score has functioned as a form of dominant ideology in relation to which alternative scoring and soundtrack practices may assert themselves.;

650 0 a| Motion picture musicx| Analysis, appreciation.=| ^A23416;

650 0 a| Motion picture musicx| History and criticism.=| ^A20620;

830 0 a| Ashgate popular and folk music series.=| ^A512613;

994 a| X0b| ERE;

596 a| 3;

998 a| 968466;

999 a| ML2075 .D39 2004w| LCc| 1i| 30372012415227d| 7/16/2014e| 3/18/2013f| 4/9/2024g| 4l| MSTm| JMUSICn| 5r| Ys| Yt| MGESBKu| 8/19/2004x| BOOKz| MCIRCo| .STAFF. enhanced 1/27/23 -jjab;

Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s and 1990s / Annette Davison.

Author/creator	Davison, Annette, 1971-
Format	Book
Publication Info	Aldershot, Hants, England ; Burlington, VT : Ashgate, ©2004.
Description	x, 221 pages : illustrations ; 25 cm.
Subjects	Motion picture music--Analysis, appreciation. Motion picture music--History and criticism.

Series	Ashgate popular and folk music series Ashgate popular and folk music series. ^A512613
Contents	Classical Hollywood cinema and scoring -- New Hollywood cinema and 'post-'? classical scoring -- Alternatives to classical Hollywood scoring -- 'What is the role of the quartet?': the soundtrack to Jean-Luc Godard's Prénom: Carmen -- Playing in Jarman's Garden: sound, performance and images of persecution -- Music to desire by: the soundtrack to Wim Wenders's Der Himmel über Berlin -- 'People call me a director, but I really think of myself as a sound-man': David Lynch's Wild at Heart.
Abstract	Relatively little has been written about film scores and soundtracks outside of Hollywood cinema. This book addresses this gap by looking at the practices of film soundtrack composition for non-Hollywood films made after 1980. The author argues that since the mid-1970s the model of the classical Hollywood score has functioned as a form of dominant ideology in relation to which alternative scoring and soundtrack practices may assert themselves.
Bibliography note	Includes bibliographical references (pages 200-209).
LCCN	2003041873
ISBN	0754605825 (alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML2075 .D39 2004	✔ Available	Place Hold

Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s and 1990s / Annette Davison.

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