Popular Music and the New Auteur: Visionary Filmmakers after MTV

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Arved Ashby (Associate Professor of Music, Associate Professor of Music, The Ohio State University, Columbus, OH)

Popular Music and the New Auteur

Visionary Filmmakers after MTV

Arved Ashby (Associate Professor of Music, Associate Professor of Music, The Ohio State University, Columbus, OH)

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English

Oxford University Press Inc
05 December 2013

Films, movies & cinema; Individual film directors, film-makers; Theory of music & musicology; Music recording & reproduction

MTV utterly changed the movies. Since music television arrived some 30 years ago, music videos have introduced filmmakers to a new creative vocabulary: speeds of events changed, and performance and mood came to dominate over traditional narrative storytelling. Popular Music and the New Auteur charts the impact of music videos on seven visionary directors: Martin Scorsese, Sofia Coppola, David Lynch, Wong Kar-Wai, the Coen brothers, Quentin Tarantino, and Wes Anderson. These filmmakers demonstrate a fresh kind of cinematic musicality by writing against pop songs rather than against script, and allowing popular music a determining role in narrative, imagery, and style. Featuring important new theoretical work by some of the most provocative writers in the area today, Popular Music and the New Auteur will be required reading for all who study film music and sound. It will be particularly relevant for readers in popular music studies, and its intervention in the ongoing debate on auteurism will make it necessary reading in film studies.

Edited by: Arved Ashby (Associate Professor of Music Associate Professor of Music The Ohio State University Columbus OH)
Imprint: Oxford University Press Inc
Country of Publication: United States
Dimensions: Height: 163mm, Width: 239mm, Spine: 18mm
Weight: 478g
ISBN: 9780199827336
ISBN 10: 0199827338
Pages: 232
Publication Date: 05 December 2013
Audience: College/higher education , A / AS level
Format: Hardback
Publisher's Status: Active

"Table of Contents Introduction / Arved Ashby Music and Cinematic Time 1. ""Without Music I Would Be Lost"": Scorsese, Goodfellas, and a New Soundtrack Practice / Julie Hubbert 2. Lost in Translation: Popular Music and The Melodramatic Mode of Sofia Coppola / Tim Anderson Music and the Image 3. A Musical Tour of the Bizarre: Popular Music as Fantasy in David Lynch / Gene Willet 4. Songs of Delusion: Popular Music and the Aesthetics of the Self in Wong Kar-wai's Cinema / Giorgio Biancorosso Music as Instrument of Irony and Authenticity 5. O Brother Where Chart Thou?: Pop Music and the Coen Brothers / Jeff Smith 6. You've Heard This One Before: Quentin Tarantino's Scoring Practices from Kill Bill to Inglourious Basterds / Ken Garner 7. Wes Anderson, Ironist and Auteur / Arved Ashby Bibliography Index"

Arved Ashby is Professor of Music at The Ohio State University. He is editor of The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology (2004) and author of Absolute Music, Mechanical Reproduction (2010).

Reviews for Popular Music and the New Auteur: Visionary Filmmakers after MTV

This collection's provocations to future scholarship are part of its considerable value ... As this valuable collection reveals, a reimagining of time and space emerged among the many ways film's musical moments evolved after MTV. Nicholas Reyland, Music and Letters