UNSETTLING SCORES GERMAN FILM, MUSIC AND IDEOLOGY ROGER HILLMAN 2005 ILLUS PB

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Item specifics

Condition
Very Good
A book that has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear. See all condition definitionsopens in a new window or tab
Seller Notes
“Please See Its Photos. Except For Some Small Cover Mars (Images Not Affected), It Is Very Clean ...
Country of Origin
United States
Book Title
UNSETTLING SCORES GERMAN FILM, MUSIC AND IDEOLOGY
Signed
No
Narrative Type
Nonfiction
Topic
German Film, German Music, German Ideology
Subjects
GERMAN FILM, MUSIC AND IDEOLOGY
ISBN
9780253217547
Category

About this product

Product Identifiers

Publisher
Indiana University Press
ISBN-10
0253217547
ISBN-13
9780253217547
eBay Product ID (ePID)
43116152

Product Key Features

Number of Pages
240 Pages
Language
English
Publication Name
Unsettling Scores : German Film, Music, and Ideology
Subject
History & Criticism, Film / General, Europe / Germany, Genres & Styles / Classical, Film / History & Criticism
Publication Year
2005
Type
Textbook
Author
Roger Hillman
Subject Area
Music, Performing Arts, History
Format
Trade Paperback

Dimensions

Item Height
0.6 in
Item Weight
12.8 Oz
Item Length
9.3 in
Item Width
6.1 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
2004-019209
Reviews
"Hillman's groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing."Klaus Phillips, Hollins University
Dewey Edition
22
Grade From
College Graduate Student
Illustrated
Yes
Dewey Decimal
791.4302/4
Table Of Content
Acknowledgments Introduction 1. Establishing a Tonal Center 2. Music as Cultural Marker in German Film 3. History on the Soundtrack: The Example of Beethoven's Ninth 4. A Wagnerian German Requiem: Syberberg's Hitler (1977) 5. Alexander Kluge's Songs without Words: Die Patriotin (1979) 6. Fassbinder's Compromised Request Concert: Lili Marleen (1980) 7. The Great Eclecticism of the Filmmaker Werner Herzog 8. Pivot Chords: Austrian Music and Visconti's Senso (1954) Conclusion: Film Music and Cultural Memory Notes Select Bibliography Index
Synopsis
Hillman's groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing." -Klaus Phillips, Hollins University Unsettling Scores: German Film, Music, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 80s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Syberberg consciously called attention to its cultural significance. Through this music their films could reference and, in some cases, 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 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., 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., "Hillman's groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing." --Klaus Phillips, Hollins University Unsettling Scores: German Film, Music, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 80s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Syberberg consciously called attention to its cultural significance. Through this music their films could reference and, in some cases, 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 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.
LC Classification Number
ML2075.H54 2005

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