Bibliographie Der Filmmusik: Ergänzungen 2012–14 2014

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Hans Jürgen Wulff Bibliographie der Filmmusik: Ergänzungen 2012–14 2014 https://doi.org/10.25969/mediarep/12791

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Bibliographie der Filmmusik: Ergänzungen 2012–14 Zusammengestellt von Hans J. Wulff

In Fortführung der Bibliographie der Filmmusik (Medien- Adams, Doug / Shore, Howard / Howe, John / Lee, wissenschaft/Hamburg: Berichte und Papiere, 87, 2008; Alan: The Music of the “Lord of the Rings” Films: rev. 2012, , set- A Comprehensive Account of Howard Shoreʼs zen wir das Verzeichnis der immer noch rasant ansteigen- Scores. Foreword by Howard Shore. [Sketches by den Publikationen der Filmmusikforschung vor. Unseren John Howe & Alan Lee.] Van Nuys, Cal.: Alfred Lesern sind wir dankbar für Hinweise auf Übersehenes und Neuerscheinungen ([email protected]) – das vorliegen- Publ. [Vertrieb] 2010, xiii, 401 S., 1 CD. de Verzeichnis soll nach angemessener Zeit fortgeschrie- ben werden. Albrecht-Crane, Christa: Lost Highway as fugue: adaptation of musicality as film. In: Adaptation [*] Für Hinweise danke ich Bernd Hoffmann, Ludger Studies: New Approaches. Ed. by Christa Albrecht- Kaczmarek, Franz Obermeier, Hans-Christian Schmidt- Crane and Dennis Cutchins. Madison, N.J.: Fairleigh Banse und Wolfgang Thiel. Dickinson University Press 2010, S. 244–262. Zu David Lynchs Lost Highway.

Abhervé, Sévérine / Binh, N.T. / Moure, José (co- Alhuter, Barbara: Narration durch Filmmusik im ord. par): Musiques des films. Nouveaux enjeux. Mainstream-Film. Ausgewählte Beispiele. Diss., Bruxelles: Les Impressions Nouvelles 2014, 224 S. Wien 2012, 193 S. (Caméras subjectives.). URL: . Inhalt: Sergio Miceli: Y a-t-il encore une école italien- Die vorliegende Arbeit widmet sich der Thematik der ne de la musique de film ? – Dominique Nasta: Usages Narration durch Musik im Mainstream-Film, wobei de la musique chez les cinéastes migrants et diaspori- die Fähigkeiten von Musik im Zusammenhang mit der ques – Phil Powrie: Les chansons préexistantes dans le Dramaturgie anhand von acht Analysen exemplarisch cinéma contemporain français – Cécile Carayol: Phé- dargelegt werden. Ziel ist es zu zeigen, wie mannig- nomène du minimalisme dans le cinéma français con- fach nicht nur die Kompositionsstile und -mittel der temporain. Exemple deDans la maison – François Por- Scores sein können – und wie groß parallel dazu der cile: Heureux tandem: Pedro Almodovar et Alberto Pluralismus an Möglichkeiten der Filmkomponisten Iglesias – Yohann Guglielmetti: « The Shape Song », ist –, sondern auch die Funktionen der Musik im Film musique séquentielle de John Carpenter – Roberto Ca- sind. Ihrer gern als passiv oder auch als rein illustrie- labretto: L’influence de Rota sur une nouvelle généra- rend bezeichneten Manier wird eine aktive, das Ge- tion de compositeurs – François Ribac: When rock schehen beeinflussende Rolle gegenübergestellt. Film- songs meet movies – Séverine Abhervé: Entre traditi- musik ist keine homogene Gattung und hängt von vie- on et renouveau, rôle de la musique dans le cinéma in- lerlei Faktoren ab, die weit über die filmwirtschaftli- dien contemporain – Gilles Mouëllic: De quelques chen Entwicklungen hinausgehen. Da sie auch an so- performances musicales dans le cinéma contemporain ziokulturelle und politische Veränderungen gekoppelt – Dominique Chateau: Musicalité vs musique: l’idée ist, werden zum einen die historischen Wurzeln von d’une partition audiovisuelle – Clap de fin : Parole aux Filmkompositionen erörtert und die Werke zum ande- acteurs de la musique de films. ren in ihrem Kontext präsentiert. Durch diese Einbet- tung und durch die Chronologie der Filmbeispiele – Abhervé, Sévérine / Serceau, Daniel: Compositeur jeder Film steht als die erfolgreichste oder eine der er- de musiques de films dans lʼindustrie cinématogra- folgreichsten Mainstream-Literaturverfilmungen ex- phique française. Définition, caractérisation et en- emplarisch für ein Jahrzehnt des Tonfilms – wird er- jeux dʼun métier en mutation. Lille: Atelier nationale sichtlich, weshalb sich die Komponisten für die jewei- de Reproduction des Thèses 2011, 2 Microfiches. lige Kompositions-techniken entschieden haben, in- wiefern sie beispielsweise hinsichtlich der Narration Zuerst als Diss, Paris I 2011. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 2

auf die filmische Dramaturgie einwirken mussten und [u.a.]: Harmattan 2011, 228 S. (Univers musical.). welche Lösungen sie für etwaige fehlerhafte Stellen fanden, um die filmische Logik aufrecht zu erhalten. Anger, Violaine / Roullée, Antoine (sous la dir. de): (Internet) “Les Nibelungen” de Fritz Lang, musique de Gott- fried Huppertz. Une approche pluridisciplinaire. Pa- Allen, Steven: Audio Avery: Sound in Tex Avery’s ris: LʼHarmattan 2012, 254 S. (Lʼunivers esthéti- MGM cartoons. In: Animation Journal 171, 2009, S. que.). 7–22. Inhalt: Wilkening, Anke: Le projet de restauration et de préservation de la Friedrich-Wilhelm-Murnau-Stif- Alleyne, Mike: The Encyclopedia of Reggae: The tung de Wiesbaden / 25–50. ‒ Roullée, Antoine: Les Golden Age of Roots Reggae. Foreword by Sly Dun- Nibelungen de Fritz Lang: matrice thématique et nar- bar. New York: Sterling [2012], 332 S. rative dʼune oeuvre / 51–78. ‒ Godefroid, Philippe: Darin u.a.: Reggae on film. Vengeance de Kriemhild ou Crépuscule des dieux: Politique et esthétique dans Les Nibelungen / 79–100. Altman, Rick: Sound space. In seinem: Sound Theo- – Guido, Laurent: „Une nouvelle formule dʼopéra“ ou ry, Sound Practice. London Routledge 1992, S. 46– le film comme Gesamtkunswerk: les enjeux esthéti- 64, 255–257. ques de la réception française des Nibelungen / 101– Auch in: Sound Studies. 4. Media Sounds. Ed. by Mi- 128. ‒ Goetz, Olivier: Les actions physiques dans Les chael Bull. London/New York: Routledge 2013, S. Nibelungen de Fritz Lang: geste et théâtralité / 129– 322–342. 154. ‒ Villani. Vivien: Les Nibelungen de Fritz Lang, émergence de la „musique de film“? Esquisse dʼune approche analytique / 155–170. ‒ James, Max: Alunno, Marco: Cinema and Music (1937) by Igna- Lʼagencement de la musique au film. Etude sur la pre- cio Isaza Martínez. In: Music, Sound, and the Mov- mière partie, Siegfried, des Nibelungen / 171–202. ‒ ing Image 8,1, Spring 2014, S. 87–92. Anger, Violaine: La représentation de la voix et lʼima- ginaire de la musique dans Les Nibelungen de Fritz Alphaville: Journal of Film and Screen Media, 3, Lang / 203–232. 2012: Sound, Voice and Music. Online. URL: . Aquilar, Carlos: Cine y jazz.. Madrid: Catédra 2013, Contents: Editorial / Danijela Kulezic-Wilson, Chris- 383 S. (Cine y imagen. 151.). topher Morris and Jessica Shine. ‒ The Same Old Songs in Reagan-Era Teen Film / Michael D. Dwyer. Aslinger, Ben: “Clueless” about Listening Forma- ‒ Prefiguring Gender in the Studio and Postmodern Musical / Michael Charlton. ‒ When is the Now in tions? In: Cinema Journal 53,3, Spring 2014, S. the Here and There? Trans-Diegetic Music in Hal 126–131. Ashbýs Coming Home / Aaron Hunter. ‒ Beneath Sci- Über den Soundtrack zu Clueless, 1995. Fi Sound: Primer, Science Fictions Sounds Design, and American Independent Cinema. / Nessa Johnston. Audissino, Emilio: John Williams, The Boston ‒ Cultural Innovation and Narrative Synergy in R. Pops Orchestra and Film Music in Concert. In: Ci- Kellyʼs Trapped in the Closet / Ioana Literat. ‒ Emo- nema, critique des images. Ed. by Claudia D’Alon- tion Capture: Vocal Performances by Children in the zo, Ken Slock, Philippe Dubois. Udine: Campanotto Computer-Animated Film / Christopher Holliday. 2012, S. 230–235.

Anderson, Gillian B. (comp.): Music for Silent Films Audissino, Emilio: Hollywood Film Music and Eth- 1894–1929. Washington: Library of Congress 1988, nic Diversity. In: C. Cortés (ed.): Multicultural Ame- xlix, 182 S. rica: A Multimedia Encyclopedia. Thousand Oaks, Repr. 2011, xlix, 182 S. CA: Sage 2013, S. 1101–1103.

Anderson, Tim: Uneasy Listening: Music, Sound, Audissino, Emilio: John Williamsʼs Film Music: and Criticizing Camelot in Mad Men Popular Music “Jaws”, “Star Wars”, “Raiders of the Lost Ark”, and Social Change in Mad Men. In: Mad Men: and the Return of the Classical Hollywood Music Dream Come True TV. Ed. by Gary R. Edgerton. Style. Madison: University of Wisconsin Press 2014, London/New York: Tauris // New York: Distrib. in xxvi, 317 S. (Wisconsin film studies.). the US by Palgrave Macmillan 2011 (Reading Con- temporary Television.). Audissino, Emilio: Film Music and Mutimedia. An Immersive Experience and a Throwback to the Past. Andrieu, Michaël: Réinvestir la musique. Autour de In: Jahrbuch für immersive Medien, [4], 2014, S. la reprise musicale et de ses effets au cinéma. Paris 46–56. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 3

Audissino, Emilio: Overruling a Romantic Preju- musikalische Schaffen am Beispiel “Ben Hur”. Saar- dice. Forms and Formats of Film Music in Concert brücken: Pfau 2012, 211 S. Programs. In: Film in Concert: Film Scores and Zugl.: Leipzig, Univ., Diss., 2009. Their Relation to Classical Concert Music. Ed. by Sebastian Stoppe. Glückstadt: Hülsbusch 2014, S. Barbo, Matjaz / Hochradner, Thomas (eds.): Music 25–44. and Its Referential Systems. Wien: Hollitzer Wissen- schaftsverlag 2012, ix, 325 S. (Specula spectacula. Avila, Jacqueline A.: ʽLos Sonidos del Cineʼ: Cine- 3.). matic Music in Mexican Film, 1930–1950. Ph.D. Darin: Film music beyond stigmatisation with effects / Thesis, Riverside, CA: University of California at Anna Gadzinski. ‒ How not to turn film music into a Riverside 2011, xii, 287 S.; [Ann Arbor, MI: UMI musical work: towards sociological approach to film Dissertation Services 2012]. music / Maja Vasiljevic. Dazu: Dissertation Abstracts International Barnier, Martin / Sirois-Trahan, Jean-Pierre (éds.): (DAIA) 73,5, Nov. 2012, no: DA3491263. The period witnessed the formation and institutionali- Nouvelles pistes sur le son. Histoire, technologies et zation of several film genres, the creation of a star pratiques sonores. = CINéMAS, Revue dʼétudes ciné- system paralleling Hollywoodʼs, and successful do- matographiques / Journal of Film Studies 24,1, mestic and international reception. An area that has 2013. not been thoroughly investigated is music and its con- Inhalt der Themensektion: Présentation / Martin Bar- tributions to nascent cinematic nationalism.This dis- nier et Jean-Pierre Sirois-Trahan. ‒ Establishing sertation proposes an interdisciplinary investigation of Sound / Rick Altman. ‒ Réception critique et histori- music in Mexican cinema between 1930-1950, con- que des technologies du son au cinéma / Martin Bar- centrating on how orchestral and popular music con- nier. ‒ Sound Synthesis, Representation and Narrative tributed to creating or enhancing cinematic represen- Cinema in the Transition to Sound (1926–1935) / tations of national identity. I examine several film Maurizio Corbella et Anna Katharina Windisch. ‒ Im- examples from prominent genres developed during provisation et son direct. Entre théories du son et mu- this period, such as the prostitute melodrama and the tations technologiques / Gilles Mouëllic. ‒ Phonogra- cabaretera subgenre, the indigenista film (films focus- phie, cinéma et musique rock. Autour d’un impensé ing on an indigenous population), cine de añoranza théorique chez Walter Benjamin / Jean-Pierre Sirois- porfirana (films of Porfirian longing), and the comedia Trahan. ranchera (ranch comedy). Barron, Lee: Proto-electronica vs. martial marches: Aziz, Ashraf: Light of the Universe: Hindustani Doctor Who, Stingray, Thunderbirds and the music Film Music. New Delhi: Three Essays Press 2003, of 1960s’ British SF television. In: Science Fiction xxviii, 126 S. Film and Television 322, Autumn 2010, S. 239–252. Rev. & enl. ed. 2012, xi, 184 S. Essays on individual artists and the use of the female voice in Hindustani Barron, Lee: What if Zarathustra had not spoken? films. Alex North’s counterfactual soundtrack to 2001: A Space Odyssey. In: New Review of Film and Televi- Bailey, Trevor / Deutsch, Stephen / Street, Sean: sion Studies 9,1, March 2011, S. 84–94. Sounding the Past. In: Journal of Media Practice 4,1, 2003, pp. 41–54. Bartig, Kevin: Composing for the Red Screen: Pro- The project was an experiment in linking music and kofiev and Soviet Film. New York / Oxford: Oxford poetry to archive films, not only to provide an enhanc- University Press 2013, xv, 228 S. (The Oxford Mu- ing accompaniment but, in some cases, with the aim of making something new which would quite pro- sic/Media Series.). foundly change the way that these films were perceiv- Inhalt: Introduction ‒ 1. New media, new means: ed by audiences. It is interesting, and somewhat dis- “Lieutenant Kizhe” ‒ 2. “The Queen of Spades”, the appointing, to note how seldom verse has been used as 1937 Pushkin Jubilee, and repatriation ‒ 3. The year film narrative. It was not until the 1990s that British 1938: halcyon days in Hollywood and an unanticipat- television viewers were to witness the experiments of ed collaboration ‒ 4. “Alexander Nevsky” and the Sta- the BBC producer Peter Symes, notably in collabora- linist Museum ‒ 5. The wartime films. The path to Al- tion with Tony Harrison, in a series of powerful docu- ma-ata ‒ 6. Ivan the Terrible and the Russian national mentaries on powerful, important and often difficult tradition ‒ Epilogue subjects. Rev. (Pauline Fairclough) in: Music & Letters 94,4, Nov. 2013, pp. 699–701. Bally, Juliane: Miklós Rózsa. Ausbildung und kam- Bauer, Shad A.: Film, Music, and the Narrational mermusikalisches Frühwerk als Basis für das film- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 4

Extra Dimension. M.A. Thesis, Athens, OH: Ohio nui. In: Animation Journal 17,1, 2009, S. 72–85. University, May 2013, 88 S. URL: . Psychoanalyse im Widerspruch, 42, 2009, S. 43–52. Abstract: This thesis addresses the role of so called Ingmar Bergmans filmische Gestaltung der “Zauber- nondiegetic film music, also known as background or flöte” von Wolfgang Amadeus Mozart geht auf frühe score music, as it pertains to the overall structure of Träume des noch 12–jährigen Bergman zurück, der processes involved in cinematic presentation. Some of sich schon damals vorgenommen hatte, einmal dieses the questions that are normally asked here are: Where Meisterwerk zu verbildlichen. Die zentrale Mitteilung, is this music supposed to be coming from? Who is re- die vermutlich mit dem Werk Bergmans gewachsen sponsible for it? What is it really doing? In addressing ist, und die in dieser Verfilmung ihren Ausdruck fin- this common filmic feature we will clear up several det, ist der Hinweis auf die Notwendigkeit des Kon- foundational concepts in film, provide a rough catego- fliktes, auf die Notwendigkeit von Krisen und Zusam- rization of film music, critique Jerrold Levinsonʼs re- menbrüchen, deren Bewältigung zur Basis der Selbst- cent attempt to answer the above questions, and ulti- suche werden kann. Die Bewältigung des Konfliktes mately arrive at a consideration of nondiegetic film um Liebe und Tod, die Mozart durch die verwandeln- music as a kind of narrational extra dimension. We de Kraft der Musik darstellte, hat Bergman durch die will ultimately reject the view that music is instrumen- Orchestrierung der Bilder kongenial ergänzt. tal in building narrative facts, in favor of one that holds music to be significant to the very processes of Berliner, Todd / Furia, Philip: The sounds of silence: film narration, affecting how a film is presented. songs in Hollywood films since the 1960s. In: Style 36,1, 2002, S. 19–35. Beaster-Jones, Jayson: Re-tuning the past, selling the future. Tata-AIG and the Tree of Love. In: Pop- [Bermbach, Udo, Hrsg.:] Wagnerspectrum 4,2, ular Music ‒ A Yearbook 30,3, 2011, pp. 351–370. This article explores the mobilisation of Indian pop- 2008: Wagner und Fantasy / Hollywood. Hrsg. v. ular music in the Tata-AIG life insurance company Udo Bermbach […]. Würzburg: Königshausen & television advertisement Tree of Love (2004). I ad- Neumann 2008, 312 S. dress ways in which music representing different pe- Aus dem Inhalt: Susanne Vill: Wagner Visionen – riods of Hindi film, along with visual representations Motive aus Werken Richard Wagners in Fantasyfil- of Indian material culture, have been integrated into men (9–96). – Alex Ross: Der Herr der Ringe und Der an advertising narrative that alludes to Indiaʼs techno- Ring des Nibelungen – Tolkien und Wagner (97–104). logical and economic development. I suggest that a – Albrecht Riethmüller: „All in the Family“ – Cosima range of aural and visual signs subtly complement und Richard Wagner auf der Leinwandbühne von Wil- each other in creating a narrative that not only marks liam Dieterle und Ken Russel (105–122). – Tobias the passage of time, but reframes past social and eco- Plebuch: Richard Wagner im Film bis 1945 (123– nomic debates into contemporary terms. I contextua- 140). – Claudius Reinke: Richard Wagner im Film lise this advertisement – and the signs that it uses – nach 1945 (141–158). within the field of the Indian insurance industry, as well as within the social-historical context of modern Bernanke, Judith: Howard Shoreʼs Ring Cycle: The India. Then, utilising elements of Peircean semiotic Film Score and Operatic Strategy. In: Studying the theory, I closely analyse the aural representations of Event Film: “The Lord of the Rings”. Ed. by Harriet the passage of time and different eras of Indian musi- Elaine Margolis, Sean Cubitt, Barry King, and cal culture. The analysis ties together the interactions Thierry Jutel. Manchester: Manchester University of musical and non-musical signs with the cultural Press 2008, S. 176–184. memories that the commercial is designed to evoke. Ultimately, I argue that musical meaning in this advertising context emerges from the complex interac- Bernhard, Paul: Probleme der Filmmusik. In: Sozia- tion of these aural and visual signs, and produces me- listische Monatshefte 34,6, 1928, S. 506–510. mory as much as it reflects it. (Vorlage) Berthomé, Jean-Pierre: Deux vois dans la nuit: La Becker, Jürgen: Die Schöpfer von Filmmusik und musique de La nuit du chasseur. In: Positif, 389– die Verwaltung ihrer Rechte durch die GEMA. In: 390, 1993, S. 148–153. Zeitschrift für Urheber- und Medienrecht 43,1, On Walter Schumann’s score for Charles Laughton’s 1999, S.16–24. The Night of the Hunter.

Bendrups, Dan: Sounds of Easter Island: Music and Biamonte, Salvatore G.: Musica e film. Roma: Edizi- cultural representation in Ogú y Mampato en Rapa- oni dellʼAteneo 1959, 274 S. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 5

“Filmografia”: S. 235–272. “Nota discografica”: S. liveness-es of Pandit Bhimsen Joshiʼs popular abhan- 273–274. gas / Anna Schultz ‒ Bollywood in the era of filmsong avatars / Paul Greene ‒ Afterword ‒ capitalisms and Biancorosso, Giorgio: The Shark in the Music. In: cosmopolitanisms / Timothy D. Taylor. Music Analysis 29,1–3, 1.3.2010, S. 306–333. Bosc, Michel: Lʼart musical de Walt Disney. LʼAni- Bick, Sally: Of Mice and Men. Copland, Hollywood, mation de 1928 à 1966. Paris: LʼHarmattan 2013, and American Musical Modernism. In: American 250 S. Music 23,4, Dec. 2005, S. 426–472. Bossu, Laurent: “Passages” de la musique dans le Biesen, Sheri Chinen: Music in the Shadows: Noir cinéma contemporain de fiction. Nouvelles foncti- Musical Films. Baltimore: Johns Hopkins University ons, nouvelles formes. Diss. Paris: Université Pan- Press 2014, xii, 210 S. théon-Sorbonne (Paris 1) 2005. 707 Bl. (2 Micro- fiches). Binh, Nt: / Moure, José / Sojcher, Frédéric (éds.): Cinéma et musique accords parfaits. Dialogues avec Botstein, Leon: Sanctioned daydreams. Music, pic- des compositeurs et des cinéastes. Bruxelles: Les tures, and architecture. In: The Musical Quarterly Impressions Nouvelles 2014, 202 S. (Caméras sub- 94,3, 2011, S. 271–277. jectives.). Bowman, Durrell: Dark Mirrors and Dead Ring- Bird, Michael: Secret arithmetic of the soul: Music ers: Music for Suspense Films About Twins. In: as spiritual metaphor in the cinema of Ingmar Berg- Intersections: Canadian Journal of Music 27,1, man. In: Kinema, 5, Spring 1996, S. 13–39. 2006, S. 54–74.

Blim, Dan: Musical and dramatic design in Bernard Brackett, David: Banjos, Biopics, and Compila- Herrmannʼs prelude to Vertigo (1958). In: Music tion Scores: The Movies Go Country. In: Ameri- and the Moving Image 6,2, 2013, S. 21–31. can Music 19,3, Oct. 2001, S. 247–290. In Vertigo (1958), director Alfred Hitchcock repeated- ly employs the motif of mirrors and spirals, both lite- Brauch, Mario: Das Sounddesign im deutschen ral and figurative. This essay first traces how these Spielfilm. Psychoakustische Verfahren der Ge- motifs informed Bernard Herrmannʼs approach to scoring the film, then offers a closer analysis of Herr- räuschkonzeption von der Nachkriegs- bis zur mannʼs iconic Prelude, arguing that Herrmannʼs mu- Neuzeit. Marburg: Tectum-Verlag 2012, X, 283 S. sic foreshadows narrative events. (Vorlage) Zugl.: Diss., Karlsruhe: Pädag. Hochsch. 2011. Das Jahr 1962 veränderte die Tongestaltung des deut- Blouin, Michael J.: Auditory Ambivalence: Music in schen Spielfilms entscheidend. Mit dem Anspruch, the Western from High Noon to Brokeback Moun- den Neuen Deutschen Film zu erschaffen, endete die Ära des deutschen Heimatfilmes und gänzlich unkon- tain. In: Journal of Popular Culture 43,6, 2010, S. ventionelle Filminhalte rückten in den künstlerischen 1173–1188. Mittelpunkt. Regisseure wie Bernhard Wicki oder Wim Wenders ließen die bislang herrschenden politi- Booth, Gregory D. / Shope, Bradley (eds.): More schen, gesellschaftlichen und künstlerischen Ein- than Bollywood: Studies in Indian Popular Music. schränkungen hinter sich und erhoben den ästheti- Oxford/New York: Oxford University Press [2014], schen Mehrwert zum höchsten Gedankengut. Die xvi, 358 S. Filmmusik, vor allem aber der Reichtum an Sound- Inhalt: A moment of historical conjuncture in Mumbai ereignissen wurde zur funktionalen Gestaltung des / Gregory D. Booth ‒ Global masala / Natalie Sarrazin Filmgeschehens eingesetzt. Das schmerzhafte Quiet- ‒ Kollywood goes global / Joseph Getter ‒ On night- schen von Türen, das physiologische Schlagen des ingales and moonlight / Kaley Mason ‒ Film song and menschlichen Herzens, aber auch elektronisch erzeug- its other / Jayson Beaster-Jones ‒ Play it again, Saras- te Geräusche wurden nicht mehr ausschließlich diege- wathi / Stephen Putnam Hughes ‒ Filming the Bhan- tisch, sondern psychoakustisch zum Zwecke der Ex- gra music video / Anjali Gera Roy ‒ Mimesis and au- pression, Wertung und Strukturierung von Filmszenen thenticity / Peter Kvetko ‒ Making music regional in a eingesetzt. Der Autor untersucht die Techniken der Delhi studio / Stefan Fiol ‒ Latin American music in Geräuschgestaltung anhand von 60 ausgewählten moving pictures and jazzy cabarets in Mumbai, 1930s Deutschen Filmpreisträgern, deren Lautereignisse to 1950s / Bradley Shope ‒ The beat comes to India / nicht nur systematisch strukturiert, sondern auch em- Gregory D. Booth ‒ Be true to yourself / Niko Hig- pirisch überprüft werden. gins ‒ At home in the studio / Shalini Ayyagari ‒ The Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 6

Braun, Michael / Kamp, Werner: Pathos im Kopf: Stufen-centric, harmonic functions; its voice-leading Musik und Mindscreen in Stanley Kubricks Eyes transformations; its set-class constituency; and its vari- Wide Shut (1999). In: Emotionen in Literatur und ous roles in establishing formal coherence reveal both Film. Hrsg. v. Sandra Poppe. Würzburg: Königshau- functional/semiotic ambiguities and multiple connec- sen & Neumann 2012, S. 267–280 (Film ‒ Medium tions that obtain between it and the textual, program- matic, visual, narrative, and dramatic contexts in ‒ Diskurs, 36.). which it appears. (Vorlage)

Brend, Mark: The Sound of Tomorrow: How Elec- Brocksch, Franziska: The Sound of Disney. Film- tronic Music Was Smuggled into the Mainstream. musik in ausgewählten Walt Disney-Zeichentrickfil- London: Bloomsbury Publishing 2012, xi, 272 S. men. Marburg: Tectum-Verlag 2012, 113 S. Summary: Monterey Pop Festival, 1967. Bernie Krau- Verlag: Die Walt Disney Company verstand es wie se and Paul Beaver demonstrate a Moog synthesizer to kein anderer Medienkonzern, eine beeindruckende the assembled rock aristocracy, plugging into a surge Symbiose zwischen Zeichentrickfilm und Musik her- of interest that would see synthesizers and electronic zustellen und gilt als Pionier der Animationsfilme und sound become commonplace in rock and pop early the deren Vertonung. Franziska Brocksch analysiert an- following decade. And yet in 1967 electronic music hand ausgewählter Walt Disney-Filme, wie Arielle die had already seeped into mainstream culture. For years, Meerjungfrau, Der König der Löwen, Die Schöne und composers and technicians had been making electron- das Biest, Schneewittchen und die sieben Zwerge und ic music for film and TV. Hitchcock had commission- weiterer Beispiele das bewusst komponierte Zusam- ed a theremin soundtrack for Spellbound (1945); The menwirken von Bild und Musik im Film. Dazu be- Forbidden Planet (1956) featured an entirely electron- leuchtet die Autorin die gängigen Theorien aus dem ic score; Delia Derbyshire had created the Dr Who Genre des Realfilms. theme in 1963; and by the early 1960s, all you had to do was watch commercial TV for a few hours to hear the weird and wonderful sounds of the new world. Brophy, Philip: The Architectonic Object. Stereo The Sound of Tomorrow tells the compelling story of Sound, Cinema, and Colors. In: Culture, Technolo- the sonic adventurers who first introduced electronic gy, and Creativity in the Late Twentieth Century. Ed. music to the masses. A network of composers, pro- by Philip Hayward. London […]: Libbey [1990], S. ducers, technicians and inventors, they took emerging 91–110. technology and with it made sound and music that was bracingly new [Publisherʼs description]. Brown, Julie / Davison, Annette: The Sounds of the Silents in Britain. New York: Oxford University Bribitzer-Stull, Matthew: From Nibelheim to Holly- Press 2013, xvi, 334 S. wood. The associativity of harmonic progression. In: This book explores the sonic dimension of film exhi- The Legacy of Richard Wagner: Convergences and bition in Britain, from the emergence of cinema Dissonances in Aesthetics and Reception. Ed. by Lu- through to the introduction of synchronized sound. ca Sala. Turnhout: Brepols 2012, S. 157–183. With contributions from many of the acknowledged Conventional wisdom holds that the tonal-dramatic experts on British silent film, as well as specialists on musical language of nineteenth-century Europe ‒ par- film music, the chapters provide an introduction to di- ticularly Wagnerʼs ‒ is alive and well in the modern- verse aspect of early film sound: vocal performance day film score. Oft-cited in support of this claim are (from lecturing and reciting to voicing the drama), the chromatic harmony and Leitmotive (associative music (from the forerunners of music for visual spec- themes) shared between the two genres. While this tacle, to the impact of legislation and the development characterization ignores crucial differences between of an aesthetic), and performance in cinemas (from the art music of the Romantic era and the film music dancing and singalong films to live stage prologues, of the silver screen, it points to a common musico-dra- and even musical performances captured in British Pa- matic heritage that provides a natural avenue into the thé’s early sound shorts). Other topics include the son- topic of associative harmonic progression. As a point ic eclecticism of performances at the Film Society, of departure, this study begins by introducing the un- British International Pictures’ first synchronized der-explained concept of associativity. From there, it sound films, and the role of institutions such as the traces a remarkable commonality of sinister eerie and Musicians’ Union and the Performing Right Society in eldritch associations borne by a specific harmonic pro- relation to cinema music and musicians. gression (the opening of Wagnerʼs notorious “Tarn- Contents: 1. Professional Lecturing in Early British helm” music in “Das Rheingold”) in works ranging Film Shows / 2. “Now, where were we?”: Ideal and from the early nineteenth century to the post-1975 or- Actual Early Cinema Lecturing Practices in Britain, chestral film-music Renaissance. Methodologically, Germany and the United States / 3. Eric Williams: this study adopts a plurality of analytic approaches to Speaking to Pictures / 4. Sounding Scottish: Sound explain the role of the “Tarnhelm” progression in a va- Practices and Silent Cinema in Scotland / 5. “Suitable riety of musico-dramatic contexts. The progressionʼs Music”: Accompaniment Practice in Early London Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 7

Screen Exhibition from R.W. Paul to the Picture Pal- Bühnenversion, welche 1983 am Londoner West End aces / 6. The Art of Not “Playing to Pictures” in Brit- ihre Erstproduktion hatte, erlebt „Singin’ in the Rain“ ish Cinemas, 1906–1914 / 7. “The efforts of the wret- eine bis heute rege Aufführungs- und Rezeptionsge- ched pianist:” / 8. The Reception of British Exhibition schichte. Practices in Moving Picture World, 1907–1914 / 9. Selsior Dancing Films, 1912–1917 / 10. Song Per- Brüstle, Christa: Konzert-Szenen: Bewegung, Per- formance in the Early Sound Shorts of British Pathé / formance, Medien. Musik zwischen performativer 11. Framing the Atmospheric Film Prologue in Brit- Expansion und medialer Integration 1950–2000. ain, 1919–1926 / 12. Animating the Audience: Sing- Stuttgart: Steiner 2013, 416 S. (Beihefte zum Archiv along Films in Britain in the 1920s /13. Workers’ Rights and Performing Rights: Cinema Music and für Musikwissenschaft. 73.) Musicians Prior to Synchronized Sound / 14. Sound at Rev. (David Roesner) in: Music and Letters 95,3, the Film Society / 15. Edmund Meisel’s “Visual 2014, S. 489–491. Sound” in The Crimson Circle (1929): The Case of In recent years, ‘interarts’ has become a bit of a buzz- the Vanishing Part-Talkie. word in the humanities. Various authors have sought to chart and interpret the ubiquitous attempts of artists to cross boundaries between different art forms, as Brown, Matthew: Debussy Redux: The Impact of well as between art and life. That these attempts are His Music on Popular Culture. Bloomington, IN: In- not always free of conflict is expressed in David Cec- diana University Press 2012, 226 S. (Musical Mean- chetto et al.’s Collision: Interarts Practice and Re- ing and Interpretation.). search (Newcastle 2008) for which the editors chose Contents: From Parisian salon to billboard phenom / ‘collision’ to describe the various interplays and inter- The medium and the message / Lights, camera, sound weavings, as well as in Fischer-Lichte et al.’s notion track! / In the moog / “Yo– Baudelaire!” / The schlock of the ‘broadening of the field of art’ in Ausweitung of the new / Assez lent or allegro non troppo? / Other der Kunstzone: Interart Studies – Neue Perspektiven cultures, other sounds. der Kunstwissenschaften (Bielefeld 2010), which is a direct reference to Michel Huellebecq’s Extension du Brown, Royal S.: How Not to Think Film Music. In: domaine de la lutte (Paris 1994). What is striking is Music and the Moving Image 1,1, April 2008, S. 2– that the focus of these studies is often predominantly 18. on film, theatre, literature, and electronic media, with music remaining largely absent. In 1998 Nicholas Brown, Royal S.: Music and/as Cine-Narrative or: Cook demonstrated in great detail, however, in his An- alysing Musical Multimedia, how deeply music— Ceci n’est pas un leitmotif. In: A Companion to Nar- which so often has been idolized as the ‘purest’ art rative Theory. Ed. by James Phelan and Peter J. Ra- form—is entangled with other art forms, media, and binowitz. New York: Wiley 2008, S. 451–465. semiotic systems.

Brownrigg, Mark: Hearing place: Film music, geo- Buhler, James: Ontological, formal, and critical the- graphy and ethnicity. In: International Journal of ories of film music and sound. In: The Oxford Hand- Media & Cultural Politics 3,3, 2007, pp. 307–323. book of Film Music Studies. Ed. by David Neumey- er. Oxford/New York: Oxford University Press Bruce, Graham: Music in Glauber Rochaʼs Films. 2014, S. 188–225. In: Jump Cut, 22, May 1980, pp. 15–18. Buhler, James: Gender, sexuality, and the sound- Brügge, Joachim / Grosch, Nils (Hrsg.): „Singin’ in track. In: The Oxford Handbook of Film Music Stud- the Rain“. Kulturgeschichte eines Hollywood-Musi- ies. Ed. by David Neumeyer. Oxford/New York: cal-Klassikers. Münster: Waxmann 3014, 176 S. Oxford University Press 2014, S. 366–382. Das Hollywoodmusical Singin’ in the Rain, das An- fang der 1950er-Jahre von Betty Comden, Adolph Buhler, James: Psychoanalysis, apparatus theory, Green und Roger Edens im Auftrag von Metro-Gold- and subjectivity. In: The Oxford Handbook of Film wyn-Mayer (MGM) konzipiert und 1952 unter der Regie von Stanley Donen und Gene Kelly, mit Kelly Music Studies. Ed. by David Neumeyer. Oxford/ in der Hauptrolle produziert wurde, gilt heute als New York: Oxford University Press 2014, S. 383– Klassiker, ja als einer der künstlerisch und kommer- 417. ziell erfolgreichsten und paradigmatischen Vertreter seines Genres. Das Musical basiert auf musikalischem Buhler, Jim [= James] / Kassabian, Anahid / Neu- Material, das zum großen Teil – genauso wie der meyer, David / Stilwell, Robynn Jeananne / Barnett, durchschlagende Titelsong – bereits eine Vorge- Kyle / Bowman, Sarah Lynne / Boa-Ventura, Ana: schichte sowohl auf im Film als auch in anderen me- Panel Discussion on Film Sound/Film Music. In: dialen Formen der populären Kultur besaß. In der The Velvet Light Trap, 51, 2003, S. 73–91. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 8

Bullerjahn, Claudia: Vertonung von Weiblichkeit im and power in Dark Angel. In: Science Fiction Film Film. In: Kompendien Musik, 5: Musik und Gender. and Television 5,2, Autumn 2012, S. 179–199. Grundlagen, Methoden, Perspektiven. Hrsg. v. Re- becca Grotjahn und Sabine Vogt unter Mitarb. von Butler, David: Jazz Noir: Listening to Music from Sarah Schauberger. Laaber: Laaber 2010, S. 195– “Phamtom Lady” to “The Last Seduction”. West- 209. port, Conn.: Praeger 2002, xix, 227 S. Jazz has been associated with crime and immorality Bullerjahn, Claudia: Bad der Gefühle und heimlicher since early forms of the music were heard in the Erzähler. Zu den Wirkungen von Filmmusik. In: tv brothels of New Orleans and the gangster-owned diskurs 14,1, 2010, S. 29–33. clubs of the 1920s. This association encouraged the use of jazz in film noir, a genre preoccupied with tales of anxiety and urban decay, which flourished in Ame- Bullerjahn, Claudia: Zwischen Patina und High-Tec. rican cinema during the postwar period. Yet, although Zur Problematik der Rekonstruktion von Stumm- the extent and nature of this collaboration has often film-Originalkompositionen der 1920er Jahre. In: been alluded to, it has rarely been examined in detail. Ton-Spuren aus der Alten Welt. Eeuropäische Film- Making significant use of archival sources and docu- musik bis 1945. Hrsg. v. Ivana Rentsch und Arne mentation, “Jazz Noir” seeks to correct this oversight, Stollberg. München: edition text + kritik 2013, S. placing the films discussed in their proper historical 66–90. context and utilizing an interdisciplinary approach that gives equal weight to the films–including such nota- Burden, Michael / Thorp, Jennifer (guest eds.): bles as “Phantom Lady,” “I Want to Live, and “Taxi Dance & Image: Articles Based on Papers Present- Driver”–and to the indelible music that accompanied them. In so doing, it corrects a great many misunder- ed at the Eleventh Annual Oxford Dance Symposi- standings about this complex, ideologically tinged re- um, New College, Oxford 2 May 2009. New York, lationship. Television “noirs” of the 1950s and 1960s, NY: Research Center for Music Iconography 2011, as well as the cinematic neo-noirs of the 1990s, have 368 S. (= Music in Art: International Journal for used jazz and jazz-flavored music extensively, thus Music Iconography 36,1–2, 2011.). giving rise to the misconception that the genre and the musical style were always intertwined. Burlingame, Jon: The Music of James Bond. Oxford/ New York: Oxford University Press 2012, ix, 293 S. Butler, David: In a lonely tone: music in film noir. Rev. (Alenka Barber-Kersovan) in: Lied und populäre In: Spicer, Andrew / Hanson, Helen (eds.): A Com- Kultur 58, 2013, S. 311–313. panion to Film Noir. Malden, MA: Wiley-Blackwell 2013, S. 302–317. Burnand, David / Sarnaker, Benedict: The Articula- tion of National Identity Through Film Music. In: Butler, David: A Good Score Goes to War: Multi- National Identities 1, 1999, S. 7–13. culturalism, Monsters and Music in New Doctor Examining the use of music in narrative film for geo- Who. In: New Dimensions of “Doctor Who”: Adven- graphical location as well as racial and ethnic charac- tures in Space, Time and Television. Ed. by Matt terisations. Hills. London/New York: Tauris 2013, S. 19–38 (Reading Contemporary Television.). Burns, Lori / Watson, Jada: Spectacle and Intimacy in Live Concert Film. Lyrics, Music, Staging, and Butler, David: ‘Way Out ‒ Of This World!’ Delia Film Mediation in P!nkʼs Funhouse Tour (2009). In: Derbyshire, Doctor Who and the British Publicʼs Music, Sound, and the Moving Image 7,2, 2013, S. Awareness of Electronic Music in the 1960s. In: 103–140. Critical Studies in Television: The International Journal of Television Studies 9,1, Spring 2014, S. Bushard, Anthony: Leonard Bernsteinʼs “On the 62–76. Waterfront”: A Film Score Guide. Lanham, MD/ The composer and musician Delia Derbyshire (1937– Plymouth, UK: Scarecrow Press 2013, xviii, 214 S. 2001) remains most famous for her arrangement and (Scarecrow Film Score Guides. 14.). realisation of Ron Grainerʼs title theme for Doctor Leonard Bernsteinʼs musical and dramatic back- Who. Yet although providing the theme tune with its ground to 1954 ‒ Leonard Bernsteinʼs compositional distinctive sounds, which would be featured in the method in “On the Waterfront” ‒ The film and its programmeʼs titles from 1963 until 1980, Derbyshire context I ‒ The film and its context II ‒ Analysis of provided little else in terms of music for the Doctorʼs the score. adventures during her time at the BBC Radiophonic Workshop. This article considers the impact of the Butkus, Clarice M.: Sound warrior: Voice, music Doctor Who theme tune on Derbyshireʼs career and Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 9

the interest in electronic music that it generated insights into the presence and activity of God in con- amongst the British public in the 1960s. temporary culture. And, through conversations with these films and their filmmakers, viewers can gain a Butzmann, Frieder / Martin, Jean: Filmgeräusch. new understanding of how God may be speaking to Wahrnehmungsfelder eines Mediums. Hofheim: modern society through film and its transcendent mel- Wolke 2012, 269 S. odies. Vor allem in Kapitel 3, Abschnitt: Die Metaphorik der Bewegung. Die Musik als Teil des Films ‒ Musik Campanella, Andrea (a cura di): Piero Umiliani: In als Metapher (73ff). parole e musica. Milano: Auditorium 2014, 125 S. (Collana Rumori. 33.). Calabretto, Roberto: Antonioni e la musica. Venezia: Collected essays and interviews by Umiliani. Marsilio 2012, 208 S. (Saggi. Cinema.). Nel cinema di Antonioni la musica si pone come pre- Caps, John: Henry Mancini: Reinventing Film Mu- senza di grande interesse, a partire dai documentari fi- sic. Urbana/Chicago/Springfield: University of Illi- no a giungere agli ultimi film. È una “musica realisti- nois Press 2012, 278 S. (Music in American life.). ca”, come la definirà lo stesso regista, che utilizza i ru- Examines the composerʼs influence on film music, mori e le sonorità elettroniche, lontana dagli abituali discussing his collaborations with directors to create stereotipi che riducevano la sua funzione a un banale e musical effects resonant with the plots of each film he scontato accompagnamento allo scorrere delle imma- worked on and his lasting impact on the subsequent gini. Non a caso Antonioni ha collaborato con molti role of music in film. musicisti, a partire da Giovanni Fusco, Vittorio Gel- Inhalt: Introduction. Here was something fresh ‒ Al- metti, Giorgio Gaslini, Harbie Hancock, i Pink Floyd legheny River launch ‒ Not quite jazz ‒ The music per giungere a Lucio Dalla, Van Morrison e Brian factory ‒ Big screen, little screen ‒ Blake Edwards Eno. and the high times ‒ Career crescendos ‒ First cadence ‒ The break with Blake ‒ Off to see the world ‒ Calella, Michele: Jazz, Sex und Filmmusik. Musik Back to television? ‒ The curse of the Pink Panther ‒ und Gender in Hollywoods Filmdramen der 1950er Maturity, the second cadence ‒ Frustration ‒ Stolen Jahre. In: Musiktheorie ‒ Zeitschrift für Musikwis- moments ‒ A closing door that wasnʼt there before ‒ senschaft 27,3, 2012, S. 247–265. Almost to Broadway ‒ Lookin back, looking on. The famous sequence depicting the sexually allusive reconciliation of Stanley and Stella in Elia Kazanʼs A Carayol, Cécile: Une musique pour lʼimage. Vers un streetcar named desire (1951) was heavily censored symphonisme intimiste dans le cinéma français. Pré- before the film was released. The motion picture pro- face de Michel Chion; postface de Gilles Mouëllic. duction code forced the producers to remove also Alex Rennes: Impr. Reprographie de lʼUniversité Rennes Northʼs jazz-inflected cue, which was replaced by a 2, 2012, 320 p. (Le Spectaculaire, Série Cinéma.). “symphonic” one. This article tries to reconstruct the En appendice, entretiens avec divers compositeurs, musical and social discourse of jazz music which lies 2007–09. behind this singular case of musical censorship. A cultural and musical analysis of film scores until the early Care, Ross: Cinesymphony: Music and Animation at 1960s shows the importance of jazz-inflected music as the Disney Studio 1928–1842. In: Sight and Sound a powerful instrument for the construction of sexual female behaviour in Hollywood films. The frequent 46,1, Winter 1976–77, S. 40–44. use of jazz-inflected musical topoi as a sign of promis- cuity and prostitution in these movies shows only ap- Care, Ross: Melody time. In: Soundtrack: The Col- parently a change of mentality and reveals actually the lector’s Quarterly 8,3, 1989, S. 31–40. same discoursive background of the censorship of On the music for Disney animation films of the 1940s Northʼs score in 1951. (Vorlage) and 1950s. Discusses especially the work of Oliver Wallace, Paul Smith, Edward Plumb, Charles Wolcott, Callaway, Kutter: Scoring Transcendence: Film Mu- Joseph Dubin and Jud Conlon. sic as Contemporary Religious Experience. Waco, Tex.: Baylor University Press 2013, x, 253 S. Carlson, Rachel Golden: Polyphonies of sound and Verlag: Films are the lingua franca of western culture; space. Motet, montage, Voices of Light, and La pas- for decades they have provided viewers with a univer- sion de Jeanne dʼArc. In: The Musical Quarterly 96, sal way of understanding the human experience. And 2, 2013, S. 296–330. film music, Kutter Callaway demonstrates, has such a profound effect on the human spirit that it demands Caroccia, Antonio: “Camillo de Nardis e il cinema”: theological reflection. By engaging scores from the documenti inediti. In: From Stage to Screen: Musi- last decade of popular cinema, Callaway reveals how cal Films in Europe and United States (1927–1961). a musically aware approach to film can yield novel Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 10

Ed. by Massimiliano Sala. Turnhout: Brepols 2012, %203/HTML/ArticleCharlton.html>. S. 37–60. This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of Caron, Alfred / Labrande, Christian / Salmona, Paul gender as a performance. The two example films from (sois la direction de): Figures du compositeur. De the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Gesualdo à Pierre Schaeffer ‒ le compositeur vu par Cukor’s A Star is Born (1954), are contextualised not le cinéma et la télévision (1905–1995). Paris: Editi- only within the studio system but through the con- ons de la Réunion des Musées nationaux 1996, 217 structed star personae of their leads—Marilyn Monroe S. and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two Cassard, Philippe / Chevrie, Marc / Narboni, Jean: example films from the twenty first century, are con- Deux temps trois mouvements. Un pianiste au ciné- textualised within a Jamesonian post-modern aesthetic ma. Entretien avec Marc Chevrie et Jean Narboni. and as examples of the non-studio, non-star filmic text [Paris]: Capricci/[France musique] 2011, 266 S. (Ci- as act of nostalgia. In contrasting these historical peri- néma.). ods, the essay posits that the studio musical was, in fact, always already “post-modern” in its fragmenta- Inhalt: Philippe Cassard: Des pellicules dans le piano tion of narrative in favour of the star performance, (avant-propos) ‒ DE BRUIT ET DE SILENCE (Bres- which constructs the gendered persona of the star. In son, Melville, Hitchcock, Ophuls / Musiques du muet, addition, it is suggested that the sub-textual subver- cinéma de lʼoreille / Symphonies dʼune grande ville) ‒ sion of traditional female roles within the studio star CORRESPONDANCES (Tempo mon beau souci / performance is in many ways more effectively critical Leçons dʼinterprétation) ‒ LE CINEMA FRANÇAIS of gender conventions than the intentionally parodic ET LES VOIX (Liszt et le père Jules / Partitions voca- aesthetics of Luhrmann and Marshall. les / Lʼenchantement Demy) ‒ BANDES ORIGINA- LES (Fellini musicien / Du classique / Les modernes & la BO / La musique de film est-elle interchangea- Chattah, Juan Roque: Semiotics, Pragmatics, and ble? / intermède) ‒ MILLERʼS CROSSING: LʼÉCOU- Metaphor in Film Music Analysis. Ph.D. Thesis, Tal- TE DÉDOUBLÉE ‒ MUSICIENS AU TRAVAIL lahassee, FL: Florida State University 2006, xv, 171 (Débat autour de Chronique dAnna Magdalena Bach / Bl. Le sujet musical / Yves Angelo, Sur le bout des doigts) ‒ JEAN-LUC GODARD, COMPOSITEUR Chianura, Claudio: Le canzoni nei film di Nanni Mo- (Polyphonie(s), socialisme(s) / Louis Beethoven et les retti. Milano: Auditorium Ed. 2012, 124 S. (Fuori Rolling Stones) ‒ BERGMANIADE. collana. 3.).

Cavell, Stanley: Oper im Film, Oper als Film. In: Chion, Michel: Audio-Vision. Ton und Bild im Kino. Deutsche Zeitschrift für Philosophie 50,1, 2002, S. Hrsg. v. Jörg U. Lensing. Berlin: Schiele & Schön 3–15. 2012, 214 S. (Ed. Mediabook.). Rez. (Werner, Hans Ulrich) in: Positionen 96, 2013, Chanan, Michael: Music, documentary, music docu- S. 46–47. mentary. In: Winston, Brian (ed.): The Documentary Film Book. Basingstoke, Hampshire: Palgrave Mac- Ćirić, Marija: Music in Ex-Yugoslav cinematogra- millan on behalf of the British Film Institute 2013, phy 1945–1961. On the road to musical. In: From S. 337–344. Stage to Screen: Musical Films in Europe and United States (1927–1961). Ed. by Massimiliano Chapman, David: Chance Encounters: Serendipity Sala. Turnhout: Brepols 2012, S. 61–70. and the Use of Music in the Films of Jean Cocteau and Harry Smith. In: The Soundtrack 2,1, Aug. Cité de la Musique (Paris): Musique & cinéma – le 2009, pp. 5–18. mariage du siècle? Paris: Actes Sud 2013, 253 S.

Charlton, Katherine: Experience Music. 3rd ed., Citron, Marcia J.: Opera and film. In: The Oxford Boston: McGraw-Hill Higher Education 2012, xxxi, Handbook of Film Music Studies. Ed. by David Neu- 402 S. meyer. Oxford/New York: Oxford University Press Darin: 36. Film music. 2014, S. S. 44-71.

Charlton, Michael: Performing Gender in the Studio Clifton, Kevin: Unravelling music in Hitchcock’s and Postmodern Musical. In: Alphaville, 3, Summer Rope. In: Horror Studies 4,1, June 2013, S. 63–74. 2012. URL:

Coates, Norma: Missing the (Popular) Music for the voted to the musical performance documentary. Its Sreens? In: Cinema Journal 48,1, Fall 2008, S. 123– scope ranges from rock concert films to experimental 130. video art featuring modernist music. Unlike the “music under” produced for films by unseen musicians, Coates, Norma: Excitement is Made, Not Born: Jack on-screen “live” performances show us the bodies that produce the sounds we hear. Exploring the link be- Good, Television, and Rock and Roll. In: Journal of tween moving images and musical movement as phy- Popular Music Studies 25,3, Sept. 2013, S. 301–325. sical gesture, this volume asks why performance is so often derided as mere skill whereas composition is af- Code, David J.: Real feelings. Music as path to phi- forded the status of art, a question that opens onto a losophy in 2001: A Space Odyssey. In: Twentieth- broader critique of attitudes regarding mental and phy- Century Music 7,2, 2010, S. 195–217. sical labor in Western culture. (Publisherʼs website) A recurring trope in the literature on Kubrickʼs 2001: Introduction: In Praise of Performance (9–22) ‒ Cool A Space Odyssey holds that the HAL 9000 computer Jazz, Hot Jazz and Hard Bop on a Summerʼs Day (23– has more feelings than any of the human characters. 36) ‒ Wild Guitarists and Spastic Singers: Virtuosic But the film itself presents the question of HALʼs Performance on Film (37–52) ‒ Direct Cinema, ʻreal feelingsʼ as something no one can truthfully an- Rockʼs Public Persona and the Emergence of the Star swer. One way to begin negotiating this contradiction (53–68) ‒ Instrumental Technique and Facial Expres- is by attending anew to the way the Jupiter Mission sion On Screen (69–90) ‒ Free Jazz Meets Indepen- episode, in which HAL appears, is cut to the Adagio dent Film: Shirley Clarkeʼs Ornette: Made in America from Khachaturianʼs ballet “Gayane”, the excerpt that (91–108) ‒ ʻIʼm Looking at Them and Theyʼre Look- remains the least discussed in this renowned compila- ing at Meʼ: Observation and Communication in Sex tion score. Suggesting that the elusive affect of this Pistols: Live at the Longhorn (109–128) ‒ Conclu- music, as it is deployed through several interrelated sion: Simple Gestures and Smooth Spaces in Robert scenes, brings focus to questions of emotion and em- Cahenʼs Boulez-Repons (129–138). bodiment that fundamentally inform the conflict between human and machine, I go on to offer a new Conway, Kelley: Cinema and Popular Song. In: Iris, hearing of HALʼs unforgettable death song “Daisy 27, Spring 1999, S. 171–174. Bell” in this light, and to re-evaluate some of the di- rectorʼs own words about his film. Ultimately, I carry Cooke, Mervyn: A History of Film Music. Cam- the same questions forward to inform a contribution to bridge, UK/New York, NY: Cambridge University the ongoing debate about the Nietzschean philosophical inflections occasionally thought to enter the film Press 2008, xxi, 562 S. with its much more famous cue from Richard Rez. (Tobias Janz) in: Sehepunkte: Rezensionsjournal Straussʼs “Also sprach Zarathustra”. (Vorlage) für die Geschichtswissenschaften 11,5 (2011), URL: . Cohen, Annabel: Resolving the paradox of film mu- Cooper, B. Lee: Terror translated into comedy: The sic through a cognitive narrative approach to film popular music metamorphosis of film and television comprehension. In: Kaufman, James C. / Simonton, horror, 1956–1991. In: Journal of American Culture Dean Keith (eds.): The Scial Science of Cinema. 20,3, Fall 1997, S. 31–42. New York: Oxford University Press [2014], S. 57– 84. Cooper, David: Film form and musical form in Ber- nard Herrmann’s score to Vertigo. In: The Journal Cohen, Annabel J.: Film music from the perspective of Film Music 1,2–3, Fall/Winter 2003, S. 239–248. of cognitive science. In: The Oxford Handbook of Film Music Studies. Ed. by David Neumeyer. Ox- Copenhafer, David: Mourning and music in Blue ford/New York: Oxford University Press 2014, S. Velvet. In: Camera Obscura, 69, 2008, S. 136–157. 96-130. Cornelius, Steven / Natvig, Mary: Music: A Social Cohen, Harvey G.: Duke Ellington on Film in the Experience. Upper Saddle River, NJ: Pearson 2012, 1930s. In: The Musical Quarterly 96,3–4, 2013, S. xv, 245 S. + 4 CDs. 406–425. Darin (S. 173ff.): ch. 11: Music and Film: ‒ Narrative Film: The Sounds of Science Fiction and the Modern Cohen, Thomas F.: Playing to the Camera: Musi- World ‒ E.T.: The Extra-Terrestrial (1982) ‒ Listen- cians and Musical Performance in Documentary ing Guide E.T.: The Extra-Terrestrial, Flying Scene ‒ Cinema. London/New York: Wallflower Press 2012, Early Film ‒ The Jazz Singer (1927) ‒ Metropolis 154 S. (Nonfictions.). (1927) ‒ Listening Guide Metropolis, Opening ‒ Hol- Playing to the Camera is the first full-length study de- lywoodʼs Golden Era ‒ Cabin in the Sky (1943) ‒ Post Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 12

World War II ‒ The Day the Earth Stood Still (1951) musical-modernism-in-brian-may’s-australian-film- ‒ Listening Guide The Day the Earth Stood Still, scores/>. Opening Sequence ‒ Beyond Hollywood: The Hidden Fortress (Kakushi-toride no san-akunin) (1958) ‒ Di- Coyle, Rebecca / Fitzgerald, J. / Hayward, Philip: versification ‒ New Explorations ‒ Listening Guide Subtle idiosyncracy: sound and music in the Austra- The Hidden Fortress, Fire Festival Scene ‒ Dissecting lian animated short film The Lost Thing (2010). In: an Epic: The Lord of the Rings. Screen Sound 4, 2013, S. 45–57. This article provides textual and contextual analyses Costa De Beauregard, Raphaelle: Résonances musi- of and reflections on the particular aesthetics of sound cales et labyrinthes sonores. Étude de l’intertextuali- and music employed in the film and identifies the té musicale dans The Dead / Les morts (Joyce, 1914 manner in which these represent a distinctly local and et Huston, 1987). In: Anglophonia, 11, 2002, S. idiosyncratic approach to auralising the author’s visual 209–218. narratives. As individual sections detail, the collaborative and interactive aspects of particular sonic compo- Covach, John Rudolph / Flory, Andrew: Whatʼs nents are also notable for representing a subtle compo- That Sound? An Introduction to Rock and Its Histo- sitional integration of elements—rather than a set of ry. 3rd ed., New York: Norton 2012, xxi, 581, 3, 3, relationships between autonomous elements determined in the final sound mix (as is often the norm for 27 S. cinematic production). Darin: Viewing Rock: Rock Television; Rock Film; Music Videos; Visual and Contextual Aspects of “No- where to Run” (S. 27–33). ‒ In Chapt. 9 (S. 343ff.): Crease, Robert P.: Divine Frivolity: Hollywood Re- Backstage Pass: Wattstax: “Black Woodstock” and presentations of Lindy Hop, 1937–42. In: Represent- the Legendary Film It Inspired by Rob Bowman. ing Jazz. Ed. by Krin Gabbard. Durham/Londeon: Duke University Press 1995, S. 207–228. Coyle, Rebecca: Point of audition. Sound and music in Cloverfield. In: Science Fiction Film and Televi- Creekmur, Corey K.: The Space of Recording: The sion 3,2, Autumn 2010, S. 217–237. Production of Popular Music as Spectacle. In: Wide Angle 10,2, 1988, pp. 32–40. Coyle, Rebecca: Drawn to Sound: Animation Film Music and Sonicity. London […]: Equinox 2010, x, Crook, Tim: The Sound Handbook. Abingdon, 258 S. Oxon/New York, NY: Routledge 2012, xii, 250 S. Animation films are widely consumed in the general (Media Practice.). population and the study of animation films has blos- Darin: 6. Sound practice and theory in film [S. 171– somed. But music and sound are often marginalized, 175]. despite the significance of soundtracks (music, voice talent and sound effects) for both the films and their DʼAmbrosio, Antonino: The rebel way: Alex Cox, marketing. Off the Pad unpacks elements used in Jim Jarmusch, and Dick Rude on the film work of sound and music tracks, contextualises them within Joe Strummer. In: DʼAmbrosio, Antonino (ed.): Let the film and music industries, and profiles specific Fury Have the Hour: Joe Strummer, Punk, and the exemplars. Focusing largely on feature-length, wide- Movement that Shook the World. New York: Nation ly-distributed films, the book highlights work and oeuvres from key centres of animation production, Books 2012, S. 73–86. such as USA, Europe and Japan. Chapters by animation and music experts such as Daniel Goldmark, Paul Dapena, Gerard: Rumbas, Tangos, Boleros and Cu- Wells and Susan Buchan offer international perspec- pis: Performing and Crossing Musical Borders in tives on the history and aesthetics of music and sound Una Cubana en Espana (1951). In: Studies in His- in animation film. Chapters from authors in Japan, panic Cinema 7,1, 2010, S. 9–22. Australia, Denmark, Russia and Canada provide analyses of key locations of activity and significant con- tributors to the field in several international arenas. As Darby, William / DuBois, Jack: American Film Mu- the first of its kind, this anthology is an invaluable re- sic: Major Composers, Techniques, Trends 1915– source for students, teachers and researchers in film, 1990. Jefferson, N.C. McFarland 1990 animation, music and media studies. [book jacket] History, analysis, criticism and appreciation.

Coyle, Rebecca / Hannan, Michael: Musical Mod- Dastugue, Gérard: Le corps du cinéma. Musique de ernism in Brian May’s Australian Film Scores. In: film et réception spectatorielle dans le cinéma holly- Screening the Past, 11, 2011. woodien classique. Toulouse, Univ., Diss., 2004, URL:

Dauer, Alfons M.: Jazz und Film. Ein historisch-the- movie-going public at the turn of the twenty-first cen- matischer Überblick. In: Jazzforschung / Jazz Re- tury. Silencing certain types of music and building a search 12, 1982, S. 41–58. peculiar rhetorical argument about the role of music in the film proved central to the effort to closet Ripley, a Davis, Nick: Inside/Outside the Klein Bottle. Music project in which Minghella himself participated. in Narrative Film, Intrusive and Integral. In: Music, Defazio, Joseph: Leitmotif: Symbolic Illustration In Sound, and the Moving Image 6,1, 2012, S. 9–19. Music. In: The Online Journal of the New Media Caucus 2,1, Spring 2006, S. 33–35. Davis, Richard: Complete Guide to Film Scoring: URL: . and TV. Boston, Mass.: Berklee Press 2012, xi, 410 S. Deguchi, Tomoko: Gaze from the Heavens, ghost Inhalt: The history of film music ‒ Production ‒ The music ‒ The business of film scoring ‒ Interviews. from the past: Symbolic meanings in Toru Takemi- tsu’s music for Akira Kurosawa’s film, Ran (1985). Davis, Susan Shibe: Creative Composing: The Ver- In: The Journal of Film Music 3,1, 2010, S. 51–64. bal Art of Rita Dove, the Visual Art of Stephen Da- vis and the Filmic Art of Stanley Brakhage. Ph.D. Della Chiesa, Ron / with Erica Ferencik: Radio My Thesis, Tempe, AZ: Arizona State University 1994, Way: Featuring Celebrity Profiles from Jazz, Opera, vii, 178 S. the American Songbook and More. Boston: Pearson Abstract in: Dissertation Abstracts International A 55, 2012, x, 291 S. 3, Sept. 1994, S. 547A. Darin: 4. David Raksin: Grandfather of Film Music [S. 234–237]. De Plano, Daniele: Le funzioni della musica in Psy- cho. In: CineCritica 1,4, 1996, S. 69–77. Del Sordo, Federico: Utile dulci. Prime nozioni sullʼ oggetto musicale. Roma: Philos 2002, 51 S. (Musica Dechert, S. Renee: “My boyfriend’s in the band!” e società. 3.) Buffy and the rhetoric of music. In: Fighting the For- ces: What’s at Stake in “Buffy the Vampire Slayer”? Delamoir, Jeanette: Sounding Sentimental: Music Ed. by Rhonda V. Wilcox, David Lavery. Lanham, for Silent Film and Composing for The Sentimental Maryland/Oxford: Rowman & Littlefield 2002, S. Bloke. In: Metro Magazine: Media &? Education 218–226. Magazine, 161, 2009, S. 150–157. When composing her folk-rock score to accompany The Sentimental Bloke, Jen Anderson considered the Decker, Todd: On the Scenic Route to Irving Ber- historical ʽauthenticityʼ of her style and instruments, lin’s Holiday Inn (1942). In: The Journal of Musi- as well as the celebrated ʽAustralian-nessʼ of this early cology 28,4, Oct. 2011, S. 464–497. silent film. Jeannette Delamoir writes that Andersonʼs score successfully allows todayʼs audiences to experi- Decker, Todd: The Musical Mr Ripley: Closeting a ence the film in a way that would have been very sim- Character in the 1950s and a Film in the 1990s. ilar to that of the filmʼs original audiences. In: Music, Sound, and the Moving Image 6,2, 2012, pp. 185–207. Delmont, Matt / Forman, Murray: Sonic Visions: In his 1999 film adaptation of Patricia Highsmithʼs Popular Music on Television. In: Journal of Popular novel The Talented Mr. Ripley, writer/director Antho- Music Studies 25,3, Sept. 2013, S. 293–300. ny Minghella used musical instruments, musical taste, and scenes of musical performance and listening to Denisoff, R. Serge / Plasketes, George: Synergy in create a film about the American gay male experience 1980s film and music. Formula for success or indus- in a particular time and place: Italy in the late 1950s. try mythology? In: Film History 4, 1990, S. 257– Attention to the filmʼs use of classical music highlights Minghellaʼs considerable feat ‒ making a major 276. motion picture depicting an era in modern gay history rarely presented to so wide an audience. But when it Deslandes, Jeanne: Dune psychanalyse de la musi- came to selling the film, Minghellaʼs Ripley was mar- que au cinéma. In: Cinémas 6,2–3, 1996, S. 189– keted as a generic heterosexual thriller that was not 197. about homosexuality at all. Analysis of the filmʼs pub- licity materials, trailers, press packet, soundtrack CD, Deutsch, Stephen: A Concise History of Western published screenplay, and DVD commentary show Music for Film-makers. In: The Soundtrack 2,1, how this tale of the closet was itself closeted for the Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 14

Aug. 2009, pp. 23–38. popularity, it seems timely to reassess the earliest period of his career and the part that films played in his Diergarten, Felix: Filmmusik. In: Adorno-Hand- conversion from a rock ʼnʼ rolling Elvis look-alike to buch. Leben ‒ Werk ‒ Wirkung. Hrsg. v. Richard a mainstream youth figure. The conversion directly re- Klein, Johann Kreuzer u. Stefan Müller-Doohm. flected the changes in pop music culture, the British negotiation of American youth culture, and the addi- Stuttgart/Weimar: Metzler 2011, S. 156–160. tion of rock ʼnʼ roll to the traditional musical film.

Dietz, Dan: The Complete Book of 1960s Broadway Donnelly, Kevin J.: Occult Aesthetics: Synchroniza- Musicals. Lanham, Md.: Rowman & Littlefield tion in Sound Film. New York: Ocford University [2014], xii, 609 S. Press 1014, xii, 260 S. (The Oxford Music/Media Dan Dietz examines every musical and revue that Series.). opened on Broadway during the 1960s. In addition to Inhalt: Introduction: The lock of synchronization. ‒ providing details on every hit and flop, Dietz includes Synchonization: McGurk and beyond. ‒ Sound mon- revivals and one-man and one-woman shows that cen- tage. ‒ Occult aesthetics. ‒ Isomorphic cadences: film tered on stars like Jack Benny, Maurice Chevalier, as “musical”. ‒ “Visual” sound design: the sonic con- Marlene Dietrich, Danny Kaye, Yves Montand, and tinuum. ‒ “Pre” and “post” sound. ‒ Wildtrack asyn- Lena Horne. In addition to entries for each production, chrony. ‒ Conclusion: final speculations. the book offers numerous appendixes: a discography, film and television versions, published scripts, Gilbert and Sullivan operettas, and lists of productions by the Donnelly, Kevin J. / Hayward, Philip (eds.): Music New York City Center Light Opera Company, the in Science Fiction Television: Tuned to the Future. New York City Opera Company, and the Music Thea- New York, NY/Abingdon, Oxon: Routledge 2013, tre of Lincoln Center. xviii, 228 S. (Routledge Music and Screen Media Series.). Diop, Samba: Music and narrative in five films by Music in The Twilight Zone / James Wierzbicki / 1– Ousmane Sembene. In: Journal of African Cinemas Time Warp: Sonic Retro-Futurism in The Jetsom / Re- 1, 2, Dec, 2009, pp. 207–224. becca Coyle, Alex Mesker/ 14 – John Williamsʼs Mu- sic to Lost in Space: The Monumental, the Profound, Doering, James M.: In Search of Quality: George and the Hyperbolic / Ron Rodman / 14 – Hearing the Boldly Goings: Tracking the Title Themes of the Star Colburn, George Kleine, and the Film Score for An- Trek Television Franchise, 1966–2005 / Neil Lerner / tony and Cleopatra (1914). In: The Musical Quar- 52 – Whimsical Complexity: Music and Sound Design terly 91,3/4, Oct. 2008), S.158–199. in The Clangers / Philip Hayward / 72 – Schizophren- ic Chords and Warm Shivers in the Stomach: The Donnelly, Kevin J.: The Perpetual Busmanʼs Holi- “New Astronautic Sound” of Raumpatrouille / Guido day: Sir Cliff Richard and British Pop Musicals. In: Heldt / 87 – Televisionʼs Musical Imagination: Space: Journal of Popular Film and Television 25,4, 1998, 1999 III / Kevin J. Donnelly / 111 – The Sound of S. 146–154. Civilization: Music in Terry Nationʼs Survivors / De- Theodor Adornoʼs assertion that “popular music for rek Johnston / 121 – Rematerialization: Musical En- the masses is a perpetual busmanʼs holiday” suggests gagements with the British TV Series Doctor Who / to me the Cliff Richard film Summer Holiday (1963). Philip Hayward, John Fitzgerald / 135 – Babylon 5: In the film, Cliff Richard plays a mechanic who with Science Fiction, Melodrama, and Musical Style / some coworkers borrows a bus from their workplace Louis Niebur / 151 – The Work of Music in the Age and drives across Europe, serving up a number of of Steel: Themes, Leitmotifs and Stock Music in the wholesome songs along the way. Adornoʼs rather cat- New Doctor Who / David Butler / 163 – Lost in Mu- chy phrase underlines what he saw as the conservative sic: Heidegger, the Glissando and Otherness / Isabella nature and function of popular music, and Cliff Rich- van Elferen / 179 – Visual Effects in Sanctuary: The ardʼs career perhaps has substantiated Adornoʼs obser- Reparative Function of Sound in Low Budget Science vation. Starting as a rock ʼnʼ roll singer, Cliff (as he is Fiction Series / Lisa Schmidt / 197. fondly known in Britain) developed into a unique Brit- ish cultural institution. He became a born again Chris- Dragone, Manuela: Pura musica ‒ pura visione. En- tian and spoke in favor of censorship, represented Bri- nio Morricone e Giuseppe Tornatore ‒ da Nuovo ci- tain in the Eurovision Song Contest, and sang spon- nema paradiso a La migliore offerta. Prefazione di taneously to the rain-drenched crowd at the Wimble- Vincenzo Mollica. Cosenza: Pellegrini 2013, 142 S. don Tennis Championship. His status as a key icon of (Arte e spettacolo. 3.). Britain since the 1950s was confirmed by his knight- hood in 1996, which was an almost unprecedented Drees, Stefan: Filmmusik ‒ Film/Musik ‒ Musik- acknowledgment of the power of pop music and a confirmation of Cliffʼs cultural status. In light of his Film. Zum Wechselverhältnis zweier Medien im Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 15

Schaffen Olga Neuwirths. In: Wechselwirkungen. fluss Richard Wagners auf die frühe französische Neue Musik und Film. Hrsg. v. Jörn Peter Hiekel. Filmtheorie / Laurent Guido ‒ Bildstrecke “die Nibe- Hofheim am Taunus: Wolke 2012, S. 81–97. lungen” ‒ Der nicht ganz absolute Film: Richard Olga Neuwirths Wille zur kritischen Bestandsaufnah- Wagner in der klassischen Filmavantgarde / Daniel me medialer Prozesse und Strategien führt dazu, dass Kothenschulte ‒ Der durchkreuzte Drang nach Ganz- die Komponistin das Visuelle als essenzielles Element heit: von Richard Wagners Gesamtkunstwerk zu Ser- betrachtet, das, falls die entsprechende Werkkonzepti- gej Eisensteins Filmkunst / Dieter Thomä ‒ Verfilmet on dies erlaubt, gleichberechtigt neben die übrigen Pa- mir den Meister nicht: Wagner im NS-Film / Reimar rameter des künstlerischen Gestaltens treten kann. Vor Volker ‒ Dialog 2: Gespräch mit Frank Sirobel ‒ dem Hintergrund dieser Interessenlage wird das Ver- Wagner-Sound im ʽGolden Ageʼ: Einflüsse auf die hältnis zwischen Bild und Klang anhand dreier sehr Filmmusik des klassischen Hollywoodkinos / Christi- unterschiedlicher und von ihren Entstehungsbedingun- an Müller ‒ Weltschmerzmann und Traumfrau: Filmi- gen her divergenter Filmmusikarbeiten untersucht: Im sche Variationen über den Fliegenden Holländer / Mittelpunkt stehen ‒ als Teilaspekte einer viel weiter Steffen Vogt ‒ Die Kunst des Übergangs: Japanische reichenden und grundlegenderen Auseinandersetzung Avantgarde und die Idee des Gesamtkunstwerks / Ma- mit dem Bild als Ausdrucksträger innerhalb der künst- ria Roberta Novielli ‒ Das Kino der Dekadenz: Nietz- lerischen Arbeit Neuwirths verstanden ‒ die als Bei- sches Kritik als filmisische Analyse / Kristina Jaspers trag zum Genderdiskurs verstehbare elektronische ‒ Dialog 3: Gespräch mit Hans Jürgen Syberberg ‒ Musik zu dem Dokumentarfilm Erik(A) von Kurt Bildstrecke “Parsifal” ‒ Dialog 4: Gespräch mit Wer- Mayer (2004/05), das gemeinsam mit dem österreichi- ner Herzog ‒ Wagner im all: Bemerkungen zur Gene- schen Regisseurs Michael Kreihsl realisierte Film- alogie der space opera / Thomas Macho ‒ “Napalm Musik-Projekts The Long Rain (1999/2000) auf eine am Morgen”: Richard Wagners Walkürenritt im literarische Vorlage von Ray Bradbury sowie Neu- Film / Marcus Stiglegger ‒ Fallen und fallen und ster- wirths eigener, an René Clairs Stummfilm Paris qui ben und sterben: Richard Wagner bei Lars von Trier / dort anknüpfender Filmessay disenchanted time Stefanie Krust ‒ “In Sachen Wagner bin ich ein Su- (2005). (Autor) chender”: Verwandlungsszenen mit Christoph Schlin- gensief / Jörg van der Horst ‒ Dialog 5: Gespräch mit Drehmel, Jan / Jaspers, Kristina / Vogt, Steffen Philipp Stölzl ‒ Postmodernes Recycling: Wagners Spuren in der filmischen Popkultur / Jesko Jockenhö- (Hrsg.): Richard Wagner und das Kino der Deka- vel. denz. [Dokumentation der Vorträge des Symposiums Rez. (Frank Piontek) in: Wagnerspectrum 9,2, 2013, “Richard Wagner und das Kino der Dekadenz”, das S. 229–235. am 27. April 1913 im Rahmen der Film- und Veran- staltungsreihe “Wagner Kino” (25. April bis 31. Mai Dressler, John C.: William Alwyn: A Research and 2013) im Zeughauskino des Deutschen Historischen Information Guide. New York: Routledge, 2012, xv, Museums (Berlin) abgehalten wurde.] Wien/Berlin: 317 S. (Routledge Music Bibliographies.). Turia + Kant 2014, 104 S. Darin: Documentary Film Scores [S. 11ff.]; Feature Ausgehend von Friedrich Nietzsches Wagner-Kritik Film Scores [S. 40]. wird in den versammelten Beiträgen untersucht, wie weit Nietzsches Analyse auch für ein bestimmtes Dubowsky, Jack Curtis: The Evolving ‘Temp’ Score Filmkonzept gilt, das Wagner’sche Topoi, musikali- in Animation. In: Music, Sound, and the Moving Im- sche oder personelle Konstellationen oder ästhetische age 5,1, Spring 2011, pp. 1–24. Konzepte übernimmt. Das Spektrum der erörterten Temp music has long been used to assist in the making Themen reicht von Erlösungsfantasien und der Über- of Hollywood motion pictures. Animated feature windung des Todestriebes im Hollywood-Kino, über films, in particular, often spend years in production, Verfallsgeschichten bei Regisseuren wie Luchino Vis- going through a protracted process of development, conti und Hans Jürgen Syberberg bis zu den Wagner- storyboarding, animation, lighting, shading, editing (An-)Klängen im Bereich des Horror- und Fantasy- and revisions. Unlike live-action film, todayʼs com- films. puter-animated film is also edited as it is being developed, written and conceived. Hence, the temp score Drehmel, Jan / Jaspers, Kristina / Vogt, Steffen changes, evolves and is ʽconformedʼ as sequences are (Hrsg.): Wagner Kino: Spuren und Wirkungen Ri- further edited and altered following reviews, screen- chard Wagners in der Filmkunst. Hamburg: Junius ings, rewrites, picture changes and new animation. 2013, 207 S. Over several years, the temp score evolves along with Inhalt: Grußworte: Zeughauskino im Deutschen His- the film. The evolution of the temp score, while being torischen Museum Hauptstadtkulturfonds / Jörg Frieß, a hidden, unglorified part of the filmmaking process, Hans Helmut Prinzler ‒ Genie und Monster: Richard is ideally situated to impact upon debates concerning Wagner als Filmfigur / Peter Jammerthal ‒ Bildstre- authorship, originality, auteur theory, collaborative cke “Magic Fire” ‒ Dialog 1: Gespräch mit Edgar Sel- processes and intertextuality. Drawing on the authorʼs ge ‒ “Was ist fotogener als seine Musik?”: der Ein- notes and discussions with filmmakers, this article Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 16

provides a glimpse into the internal process of temp Oxon: Routledge 2013, xvi, 244 S. (Routledge Mu- scoring in computer-animated feature film, and analy- sic and Screen Media Series.). ses temp and final music. Attention is given to the col- Robert Edgar / Kirsty Fairclough-Isaacs / Benjamin laborative process, music selection, intertextuality and Halligan: Introduction: Music Seen: The Formats and authorship, as well as insight into possible ideological Functions of the Music Documentary / 1 – Paul Long / comparisons with final score. Tim Wall: Tony Palmerʼs All You Need Is Love: Tele- visionʼs First Pop History / 25 – Michael Saffle: Re- Dubowsky, Jack Curtis: Musical Cachet in New trospective Compilations: (Re)defining the Music Do- Queer Cinema. In: Music, Sound, and the Moving cumentary / 42 – Oliver Carter / Sam Coley: Sound Image 8,1, Spring 2014, S. 25–56. and Vision: Radio Documentary, Fandom, and New Participatory Cultures / 55 – Julie Lobalzo Wright: Dwyer, Michael D.: The Same Old Songs in Rea- The Good, The Bad, and The Ugly ʼ60s: The Oppos- gan-Era Teen Film. In: Alphaville, 3, Summer 2012. ing Gazes of Woodstock and Gimme Shelter / 71 – Emile Wennekes: “Let Your Bullets Fly, My Friend”: URL: . min Halligan: “You Canʼt Always Get What You This article examines the recontextualization of 1950s Want”: Riding on The Medicine Ball Caravan / 100 – rock in the form of “Oldies” in teen films of the 1970s Michael Goddard: No Wave Film and the Music Do- and 1980s. Specifically, the article highlights the pe- cumentary: From No Wave Cinema “Documents” to culiar phenomenon of scenes featuring teenagers lip- Retrospective Documentaries / 115 – Erich Hertz: The synching to oldies songs in films like Risky Business Anxiety of Authenticity: Post-punk Film in the 2000s / (1983), Pretty in Pink (1986), Ferris Buellerʼs Day 131 – Ailsa Grant Ferguson: “Every Tongue Brings in Off (1986), and Adventures in Babysitting (1987). In a Several Tale”: The Filth and the Furyʼs Counterhis- these scenes, like in the cover versions of rhythm and torical Transgressions / 141 – Jeffrey Roessner: The blues records popularized by white artists in the fif- Circus is in Town: Rock Mockumentaries and the Car- ties, white teens embody black cultural forms, “cover- nivalesque / 159 – Kevin J. Donnelly: Visualizing ing” over the racial and sexual politics that character- Live Albums: Progressive Rock and the British Con- ized rock and rollʼs emergence. The transformation of cert Film in the 1970s / 171 – Andrew Burke: “Moo- rock ʼnʼ roll from “race music” to the safe alternative gie Wonderland”: Technology, Modernity, and the for white bourgeois males in the face of new wave, Music Documentary / 185 – Christopher L. Ballengee: punk, disco and hip hop, reflected in the establishment An Ethnographic Video Project for the Music Class- of oldies radio formats and revival tours, was aided room / 195 – Mark Duffett / Jon Hackett: Mediating and abetted by oldies soundtracks to Hollywood films. The Agony and the Ecstasy of Phil Spector: Docu- menting Monstrosity? / 206 – Sunil Manchani Keith Dyer, Richard: In the Space of a Song: The Uses of McDonald: Desperately Seeking Kylie! Critical Re- Song in Film. Abingdon, Oxon/New York, NY: flections on William Bakerʼs White Diamond / 219. Routledge 2012, viii, 202 S. Introduction ‒ The perfection of Meet me in St. Louis Edney, Kathryn: Resurrecting the American musical. ‒ A star is born and the construction of authenticity ‒ Film noir, jazz, and the rhetoric of tradition in City “I seem to find the happiness I seek”: heterosexuality of Angels. In: Journal of Popular Culture 40,6, and dance in the musical ‒ The space of happiness in the musical ‒ Singing prettily: Lena Horne in Holly- 2007, S. 936–952. wood ‒ Is Car wash a musical? ‒ Music and presence in blaxploitation cinema. Eicke, Stephan: Molto amoroso ‒ Musik einer Ent- Songs take up space and time in films. The book is ar- fremdung. Die Filmmusik als Kommentar einer ge- guing that the way songs take up space indicates a scheiterten Beziehung in Sam Peckinpahs Straw great deal about the songs themselves, the nature of Dogs. In: Splatting Image, 92, Dez. 2012, S. 55–57. the feelings they present, and who is allowed to present feelings how, when and where. In the Space of a Elferen, Isabella van: Gothic Music: The Sounds of Songexplores this perception through a range of ex- the Uncanny. Cardiff: University of Wales Press amples, from classic MGM musicals to blaxploitation 2012, 229 S. (Gothic Literary Studies.). cinema, with the career of Lena Horne providing a Inhalt: Introduction: ʽBaleful sounds and wild voices turning point in the cultural dynamics of the feeling. ignoredʼ ‒ The sound of Gothic literature ‒ Gothic Rez. (Johnston, Nessa) in: Popular music 33, 2014, S. film music: the audiovisual uncanny ‒ Gothic televi- 182–184. sion music: the unhomely home ‒ Gothic game music: Rez. (Bandur, Markus) in: Lied und populäre Kultur hyperreality haunted ‒ Goth music: uncanny embo- 58, 2013, S. 314–320. died ‒ The unthinkable sounds of the uncanny. Edgar-Hunt, Robert (ed.): The Music Documentary: Ellis, Sarah T.: Establishing (and re-establishing) a Acid Rock to Electropop. New York, NY/Abingdon, sense of place: musical orientation in The Sound of Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 17

Music. In: Studies in Musical Theatre 3,3, Dec. Felsmann, Klaus-Dieter (Hrsg.): Klang der Zeiten. 2009, pp. 277–283. Musik im DEFA-Spielfilm. Eine Annäherung. Berlin: Bertz + Fischer 2013, 270 S. Elsaesser, Thomas: Innocence Restored?: Reading Etwa 145 Komponisten waren zwischen 1946 und and Rereading a ʽClassicʼ. In: Langʼs “Metropolis”: 1990 im DEFA-Spielfilmstudio in Babelsberg an der Cinematic Visions of Technology and Fear. Ed. by Produktion der rund 950 dort entstandenen Filme be- Michael Minden & Holger Bachmann. Rochester, teiligt. Auch wenn sie alle einem Auftraggeber ver- NY: Camden House 2000, pp. 123–139. pflichtet waren – der ihnen recht komfortable Arbeits- bedingungen bot –, führte das nicht zu einem einheit- On Giorgio Moroderʼs music for Langʼs film. lichen DEFA-Sound. Die individuellen kompositorischen Handschriften spiegeln über den gesellschaftli- Emons, Hans: Für Auge und Ohr: Musik als Film chen Entstehungskontext hinaus sowohl die musikäs- oder Die Verwandlung von Kompositionen ins thetischen als auch die zeitpolitischen Strömungen der Licht-Spiel. 2., komplett überarb. und erw. Aufl. zweiten Hälfte des 20. Jahrhunderts wider. Durch Ge- Berlin: Frank & Timme 2012, 252 S. (Kunst-, Mu- spräche mit den Komponisten Peter Rabenalt, Wolf- sik- und Theaterwissenschaft. 12.). gang Thiel, Bernd Wefelmeyer, Christian Steyer, An- dré Asriel, Peter Michael Gotthardt sowie Reiner Bre- Emons, Hans: Film ‒ Musik – Moderne. Zur Ge- demeyer und Analysen von DEFA-Filmen wie u.a. schichte einer wechselhaften Beziehung. Berlin: Ehe im Schatten (Musik: Wolfgang Zeller), Der Fall Frank & Timme 2014, 234 S. (Kunst-, Musik- und Gleiwitz (Musik: Kurt Schwaen), Die Leiden des jun- gen Werthers (Musik: Siegfried Matthus), Tecumseh Theaterwissenschaft. 14.). (Musik: Günther Fischer) nähert sich der vorliegende Band dem komplexen kulturhistorischen Thema an. Engel, Charlene: Language and the music of the Dabei geht es sowohl um zeitgeschichtliche Aspekte spheres. Steven Spielberg’s Close Encounters of the als auch um grundsätzliche Fragen einer Ästhetik der Third Kind. In: Literature/Film Quarterly 24,4, Oct. Filmmusik. [Verlag] 1996, S. 376–382. Enthält u.a.: Wolfgang Thiel: Klänge aus Babelsberg – eine kurze Geschichte der Musik zu DEFA-Spielfil- Evans, Mark: Straining the future. Battlefield Earth, men (19–48). Space Jazz and the sounds of Scientology. In: Sci- ence Fiction Film and Television 3,2, Autumn 2010, Fiegel, E. Todd: Bernard Herrmann as musical col- S. 201–216. orist. A musicodramatic analysis of his score for The Day the Earth Stood Still. In: The Journal of Film Everett, Wendy. Director as composer: Marguerite Music 1,3, 2003, S. 185–215. Duras and the musical analogy. In: Literature/Film Quarterly 26,2, 1998, S. 124–129. Finocchiario, Francesco (a cura di): Musica e cinema nella Repubblica di Weimar. Contributi di Gaia Everist, Mark: Mozartʼs Ghosts: Haunting the Halls Varon […]. Roma: Aracne 2012, 149 S. of Musical Culture. New York: Oxford University Press 2012, xiii, 310 S. Finocchiaro, Francesco: Panzerkreuzer Potemkin Darin: “Part III: Specters at the Feast” (S. 191ff.) con- zwischen Moskau und Berlin. Parallele Leben eines siders the impact of Mozartʼs music in literature and Meisterwerks. In: Musiktheorie ‒ Zeitschrift für Mu- film. sikwissenschaft 27,3, 2012, S. 213–228. A broad uncertainity characterizes the “status” of film Farmer, James Clark: Opera and the New German music in the “silent-era”: for a long time the exposure Cinema: Between Distance and Fascination. Ph.D. to contingent factors and the unstable nature of the Thesis, Iowa City: University of Iowa 2003, iv, 203 compositional act conferred an evasive identity on ci- S.; [Ann Arbor, Mich.: ProQuest 2004, 3 Micro- nematographic music. The special case of the so-call- fiches]. ed “Iocalizations”, that is the arrangement of different scores for the foreign distribution of a movie, bears On the role of music in the films of Alexander Kluge, witness to the uneven path that awaits the composition Werner Schroeter and Hans Jürgen Syberberg. Discus- of original scores and to the difficulty in indentifying ses especially the religious connotations in Syber- a film music dramaturgy. The most famous instance of berg’s use of Richard Wagner’s music. localization concerns a milestone of film history: Ser- gei Eisensteinʼs Bronenosec Potëmkin, represented at Fawell, John: The sound of loneliness. Rear Win- Bolʼshoi Theatre in Moscow on 24th December, 1925 dow’s soundtrack. In: Studies in the Humanities 27, and performed in a different version at Apollo-Theatre 1, 2000, S. 62–74. in Berlin on 29th April, 1926. At the premiere in Mos- cow the Bolʼshoiʼs Orchestra performed a compilation Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 18

of Beethovenʼs and Caikovskyʼs fragments. For the feminist psychoanalytic film theory to account for German version instead, that was broadly modified in literary, animated, televisual, and virtual influences. the montage, the Russian director ordered an original This approach bridges gaps between disciplinary score from the emergent composer Edmund Meisel. frameworks, showing that studies of literature, film, The movie was a great success at the same time in media, opera, and popular music pose common ques- Moscow and in Berlin: in both capitals for many years tions about authenticity, vocal and visual realism, there circulated two different movies, both authorized circulation, and reproduction. The book analyzes the by the director, with distinct music scores, until Mei- importance of the mismatched female voice in histo- selʼs one was lost under the Nazis. However, this lat- rical debates over the emergence of new media and ter score has been recently restored by Helmut Imig unravels the complexity of female representation in and Lothar Prox. In the meantime two other accompa- moments of technological change niments were arranged in Russia after the Second World War: the first one in 1949 with Nikolai Kryu- Fleeger, Jennifer: Sounding American: Hollywood, kovʼs music; the second one with Shostakovichʼs mu- Opera, and Jazz. New York […]: Oxford University sic in 1976. The essay aims to outline the movieʼs Press 2014, x, 220 S. “musical history” and to study the connections be- Contents: Archiving America: sound technology and tween the different sonorizations and the communica- musical representation – Opera cut short: from the tive universe of the Eisensteinʼs work and thought. castrato to the film fragment – Selling jazz short: Hol- (Vorlage) lywood and the fantasy of musical agency – Opera and jazz in the score: toward a new spectatorship – Fitzgerald, Jon / Hayward, Philip: The sound of an Conclusion. upside-down world. Jerry Goldsmithʼs landmark Sounding American: Hollywood, Opera, and Jazz tells score for Planet of the Apes (1968). In: Music and the story of the interaction between musical form, film the Moving Image 6,2, 2013, S. 32–43. technology, and ideas about race, ethnicity, and the Planet of the Apes (1968) portrays an “upside-down” nation during the American cinemaʼs conversion to world populated by dominant apes and inferior, primi- sound. Contrary to most accepted narratives about the tive humans. This article examines ways in which conversion, which tend to explain the competition be- screen composer Jerry Goldsmith draws on a range of tween the Hollywood studiosʼ film sound technologies twentieth-century classical music techniques to create in qualitative and economic terms, this book argues a landmark orchestral film score that enhances the im- that the battle between disc and film sound was waged pact of the strange and confronting narrative. (Vorla- primarily in an aesthetic realm. Opera and jazz in par- ge) ticular, though long neglected in studies of the film score, were extremely important in defining the scope Flamm, Christoph: Als die (Ton-)Bilder laufen lern- of the American soundtrack, not only during the con- ten: Filmische Elemente in Ottorino Respighis Ton- version, but also once sound had been standardized. dichtungen. In: Wie Bilder klingen. Tagungsband Examining studio advertisements, screenplays, scores, zum Symposium “Musik nach Bildern” (Innsbruck, and the films themselves, the book concentrates on the interactions between musical form and film technolo- 16.–18. April 2010). Hrsg. v. Lukas Christensen u. gy, arguing that each of the major studios appropriat- Monika Fink. Wien/Berlin/Münster: LIT 2011, S. ed opera and jazz in a unique way in order to con- 85–100. struct its own version of an ideal American voice. (Verlag) Fleeger, Jennifer: Mismatched Women: The Sirenʼs Song through the Machine. New York/Oxford: Ox- Fleming, Tyler: Stars of Song and Cinema: The Im- ford University Press 2014, pact of Film on 1950s Johannesburgʼs Black Music Content: Introduction – 1. Literary Divas: Trilby, Scene. In: Falola, Toyin / Fleming, Tyler (ed.): Mu- Christine, and the Phantom of Phonography – 2. Me- sic, Performance and African Identities. New York: tropolitan Women: Geraldine Farrar and Marion Tal- Routledge 2012, S. 191–212 (Routledge African ley Silence Opera on Screen – 3. Opera in Synch: De- Studies. 3.). anna Durbin and Musical Playback – 4. The Disney Princess: Animation and Real Girls – 5. Kate Smith: The Variety “Femcee” on Radio and Television – 6. Flinn, Caryl: Style and craft: Teaching film music. Susan Boyle: The Amateur in the Age of Auto-Tune – In: Fischer, Lucy / Petro, Patrice (ed.): Teaching Conclusion. Film. New York: The Modern Language Association The mismatched woman is a stumbling block for both of America 2012, S. 278–287. sound and feminist theory, argues Fleeger, because she has been synchronized yet seems to have been put Floreano, Ilaria: Concerto per macchina da presa. together incorrectly, as if her body could not possibly Musica e suono nel cinema di Krzysztof Kieslowski. house the voice that the camera insists belongs to her. Milano: Ed. Bietti 2011, 343 S., [7] Bl. (Bietti Hete- Fleeger broadens the traditionally cinematic context of Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 19 rotopia. 5.). Fuxjäger, Anton: Translation, Emphasis, Synthesis, Disturbance: On the Function of Music in Visual Forman, Murray: One Night on TV Is Like Weeks at Music. In: Organised Sound 17,2, 2012, S. 120–127. the Paramount: Popular Music on Early Television. Durham, NC: Duke University Press 2012, 424 S. Gabbard, Glen O. / Gabbard, Krin: The science fic- (Console-ing Passions.). tion film and psychoanalysis. Alien and Melanie Contents: Popular Music and the Small Screen Fron- Klein’s night music. In: Psychoanalytic Approaches tier: An Introduction. ‒ 1. Music, Image, Labor: Tele- to Literature and Film. Ed. by Maurice Charney & visionʼs Prehistory. ‒ 2. “Hey TV!”: Musical Pioneers Joseph Reppen. Rutherford, NJ: Fairleigh Dickinson and Pessimists. ‒ 3. Harmonizing Genres. ‒ The Look University Press 1987, S 171–179. of Music. ‒ 5. Music in a “Sepia” Tone. ‒ 6. Maracas, Congas, and Castanets. ‒ Conclusion: Rocking the TV Conventions. Gabbard, Krin: White face, black noise: Miles Davis Rev. (Carolyn Birdsall) in: Screen 54,3, Autumn and the soundtrack. In: Beyond the Soundtrack: Re- 2013, S. 417–420. presenting Music in Cinema. Edited by Daniel Gold- Formanʼs study sets out to investigate the entwined mark, Lawrence Kramer and Richard Leppert. Ber- histories of popular music and television in early tele- keley, Cal./London: University of California Press vision broadcasting. In doing so, Forman joins a small 2007, S. 260–276. but growing number of scholars who have sought to Discusses, among others, Davis’s music for Gary redress the neglect in both television and popular mu- Ross’s Pleasantville and Dennis Hopper’s The Hot sic studies of this mutual influence by conducting tele- Spot. vision music history. Even in recent research, however, Forman identifies an ongoing tendency to down- Gall, Johannes C. / Schweinhardt, Peter (Hrsg.): Al- play the appeal and diversity of pre-1956 music pro- ternative Filmmusik zu einem Ausschnitt aus „The gramming, which is rarely subject to close analysis. In Grapes of Wrath“ [Musikdruck] = Alternative Film response, Forman investigates a series of technical im- provements and experiments in generic form and style Music to an Excerpt from “The Grapes of Wrath” / from the 1930s, but also crucially foregrounds postwar Hanns Eisler. Wiesbaden/Leipzig/Paris: Breitkopf & industrial disputes between musiciansʼ unions and tel- Härtel 2013, XXX, 125 S. (Gesamtausgabe / Hanns evision networks over contracts, recording and live Eisler. Ser. 6, Filmmusik 10.). performances. These large-scale disputes, moreover, Libretto und Kritischer Bericht dt. ‒ Vorw. und Einl. support Formanʼs claim that both unions and televi- dt. und engl. Enth. außerdem: Filmmusik zu Hangmen sion industry executives recognized the commercial Also Die. ‒ Kritischer Bericht S. 99–125. potential represented by the intersection of music and television. Gangloff, Tilmann P.: Krachen und Scheppern. Der Wert der Filmmusik und die Arbeit mit “Temp Fraile Prieto, Teresa: Música de cine en España. Se- Tracks”. In: epd medien, 26–27, 2010, S. 6–9. ñas de identidad en la banda sonora contemporá- nea. Badajoz: Diputación de Badajoz, Dep. de Publ. Garwood, Ian: Must you remember this?: orchestrat- 2010, 367 S. (Festival Ibérico de Cine. Teresa Fraile ing the “standard” pop song in Sleepless in Seattle. Prieto. Colección Cine. 14.). In: Screen 41,3, 2000, S. 282–298. Zur Geschichte der spanischen Filmmusik, 1950 bis heute. Gauthier, Brigitte (éd.): Kubrick, les musiques. Montpellier: Entretemps 2012, 144 S. (Kubrick, les Franklin, Peter: Seeing through Music: Gender and films, les musiques. 2.)/(Les points dans les poches. Modernism in Classic Hollywood Film Scores. New Série script.). York/Oxford: Oxford University Press 2011, 191 S. (The Oxford Music/Media Series.). Gendron, Bernard: Theodor Adorno Meets the Ca- Rez. (Roust, Colin) in: Notes. Quarterly Journal of the Music Library Association 68,4, 2012, S. 782–784. dillacs. In: Studies in Entertainment. Ed. by Tania Rev. (K. A. Wisniewski) in: Alphaville, 3, 2012, URL: Modleski. Bloomington, Ind.: Indiana University . Gengaro, Christine Lee: Music in flux. Musical Fritsch, Eva: Filmzugänge. Strukturen und Handha- transformation and time travel in Back to the Future. bung. Mit einem Exkurs zur Filmmusik von Tomi In: The Worlds of Back to the Future: Critical Es- Mäkelä. Köln: Halem 2010, 238 S. says on the Films. Ed. by Sorcha Ni Fhlainn. Jeffer- son, NC/London: McFarland 2010, S. 112–132. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 20

Gengaro, Christine Lee: Listening to Stanley Ku- 120. brick: The Music in His Films. Lanham, MD/Ply- Rez. (Lücke, Martin) in: Die Tonkunst 7,1, 2013, S. mouth: Scarecrow Press 2012, viii, 305 S. 132–133. The musical scores of Stanley Kubrickʼs films are of- Rez. (Stenzl, Jürg) in: Lied und populäre Kultur 57, ten praised as being innovative and forward-looking. 2012, S. 505–508. Despite playing such an important part in his produc- Rez. (Wolf, Hans-Peter) in: Forum Musikbibliothek tions, however, the ways in which Kubrick used music 33,2, 2012, S. 57–58. to great effect is still somewhat mysterious to many viewers. Although some viewers may know a little Giuliani, Roberto: Le fonti sonore e audiovisive e la about the music in 2001 or A Clockwork Orange, few storiografia contemporanea. In: Rivista Italiana di are aware of the particulars behind the music in Ku- Musicologia 35,2, 2000, S. 539–584. brickʼs other films.In Listening to Stanley Kubrick: The Music in His Films, Christine Lee Gengaro pro- Giuliani, Roberto (a cura di): La musica nel cinema vides an in-depth exploration of the music that was e nella televisione. Milano: Guerini 2011, 375 S. composed for Kubrickʼs films and places the pre-exis- (Musica nel 900 italiano. 3.)/(Guerini studio.). tent music he utilized into historical context. Gengaro Inhalt: Sergio Miceli: Musicisti dʼarea colta nel cine- discusses the music in every single work, from Ku- ma muto (19–32). ‒ Sergio Miceli: La musica nel ci- brickʼs first flms, including the documentary shorts nema del fascismo (33–50). ‒ Marco Alunno: Compo- The Flying Padre and Day of the Fight, through all of sitori dʼarea colta nel cinema del secondo Novecento his feature films, from Fear and Desire to Eyes Wide (51–64). ‒ Renata Scognamiglio: Considerazioni sul Shut. No film is left out; no cue is ignored. Besides film biografico (65–76). ‒ Renata Scognamiglio: Film closely examining the scores composed by Gerald operistici. Un profilo analitico (77–102). ‒ Sergio Mi- Fried for Kubrickʼs early works, Gengaro pays partic- celi: Nino Rota — Ennio Morricone (103–112). ‒ Ro- ular attention to five of the directoŕs most provocative berto Calabretto: La musica nel cinema di Pasolini e and acclaimed films-2001: A Space Odyssey, A Clock- Antonioni (113–124). ‒ Roberto Calabretto: Nicola work Orange, Barry Lyndon, The Shining, and Eyes Piovani — Franco Piei santi — Carlo Crivelli (125– Wide Shut. For each film, she engages the reader by 144). ‒ Beatrice Birardi: Non solo propaganda. Musi- explaining how the music was excerpted (and chang- ca e documentano nel primo Novecento italiano (145– ed, in some cases), and how the historical facts about a 176). ‒ Nicola Bondanese: Musica e generi documen- musical piece add layers of meaning-sometimes taristici in Italia tra gli anni Cinquanta e Settanta unintended-to the films. Meant for film lovers, music (177–220). ‒ Roberto Giuliani: La musica nella tele- lovers, and scholars, Listening to Stanley Kubrick is a visione italiana dal Nazionale a Raitre. Storie di albe, thoroughly researched examination into the musical crepuscoli ed eclissi (221–266). ‒ Assunta Cavaliari: elements of one of cinemás most brilliant artists. Divulgazione e didattica musicale nel mezzo audiovi- Appropriate for a cinema studies or music classroom, sivo. DallʼIstituto LUCE alla RAI-TV (267–316). ‒ this volume will also appeal to any fan of Kubrickʼs Agnese Roda: Musica (mai) vista: le rarità audiovisive films. di Fuori, orano (317–352). Contents: Introduction. ‒ 1. Early Projects. ‒ 2. Love Themes, Leitmotifs, and Pop Music. ‒ 3. The Music of the Spheres. ‒ 4. “It Was Lovely Music That Came Goldmark, Daniel: Drawing a new narrative for car- to My Aid”. ‒ 5. “I Was Lucky Enough to Have toon music. In: The Oxford Handbook of Film Music Superb Material to Work With”. ‒ 6. Midnight, the Studies. Ed. by David Neumeyer. Oxford/New York: Stars, and You. ‒ 7. Kubrickʼs Final Word. Oxford University Press 2014, S. 229-244.

Gervink, Manuel: “Symphonie diagonale” ‒ Ab- Gorbman, Claudia: Narrative film music. In: Yale strakte Filme und ihr Musikbezug. In: Wechselwir- French Studies 60, 1980, S. 183–203. kungen. Neue Musik und Film. Hrsg. v. Jörn Peter Auch in: Sound Studies: Critical Concepts in Media Hiekel. Hofheim am Taunus: Wolke 2012, S. 29–40. and Cultural Studies. 4. Media Sounds. Ed. by Mi- chael Bull. London/New York: Routledge 2013, S. Gervink, Manuel / Bückle, Matthias (Hrsg.): Lexi- 306–321. kon der Filmmusik. Personen ‒ Sachbegriffe zu The- Grabócz, Márta (sous la dir. de): Les modèles dans orie und Praxis ‒ Genres. Laaber: Laaber-Verlag lʼart. Musique, peinture, cinéma. Strasbourg: Presses 2012, 710 S. Rez. (Martina Rommel) in: Informationsmittel (IFB), Universitaires de Strasbourg 1997, 223 S. [2012], URL: . Gräf, Dennis / Großmann, Stephanie / Klimczak, Pe- Rez. (Hans J. Wulff) in: Medienwissenschaft Rezensi- ter / Krah, Hans / Wagner, Marietheres: Filmsemio- onen, 4, 2012, S. 487–492. tik: Eine Einführung in die Analyse audiovisueller Rez. (Michael Wedel) in: Filmblatt, 50, 2013, S. 117– Formate. Marburg: Schüren, 2011, 412 S. (Schriften Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 21 zur Kultur- und Mediensemiotik. 3.). NY/Abingdon, Oxon: Routledge 2014, xvii, 229 S. Darin S. 250–285. (Routledge Research in Music. 7.). Contents: The making of the Middle AgesThe bell ‒ Grant, Barry Keith: “Jungle nights in Harlem”. Jazz, The trumpet fanfare and the horn call ‒ Banquet and ideology, and the animated cartoon. In: University of court music ‒ The singing minstrel ‒ Chant ‒ The rid- Hartford Studies in Literature 21,3, 1989, S. 3–12. ing warrior.

Green, Edward: Bernard Herrmann ‒ “pop” compos- Halfyard, Janet K. (ed.): The Music of Fantasy Cine- er? In: Popular Music History 5,1, 2010, S. 7–20. ma. Sheffield, South Yorkshire/Oakville, CT: Equi- Introducing a special issue of Popular Music History nox 2012, viii, 244 S. (Genre, Music and Sound.). honoring, on his centenary, the great American film Fantasy has had a modern resurgence in cinema due composer Bernard Herrmann, this essay explores the largely to the success of superhero narratives and the complex and conflicted relation Herrmann had to the two major fantasy series, the Lord of the Rings and world of “popular” music ‒ his great interest in its his- Harry Potter. Often regarded as mere escapism, this tory, yet the distance he kept from contemporary pop- genre has been neglected as the subject of serious aca- ular styles. Among matters discussed are: his partner- demic work. This volume explores the way in which ship with Alfred Hitchcock and its breakup over music and sound articulate the fantastic in cinema and Hitchcock’s insistence on the inclusion of a “pop contribute to the creation of fantasy narratives. Fanta- song” for the 1966 film Torn Curtain; the scores to sy invokes the magical within its narratives as the The Wrong Man and North by Northwest; and Herr- means by which to achieve what would be impossible mann’s attempts to write Broadway musicals. In the in our own reality, as compared to sci-fiʼs as-yet un- process, comparison is made to music by Henry Man- known technologies and horrorʼs dark and deadly su- cini and Max Steiner ‒ among others. The essay sug- pernatural forces. Fantasy remains problematic, how- gests that Eli Siegel’s philosophy of Aesthetic Rea- ever, because it defies many of the conventional lism can shed crucial light on both the music and life mechanisms by which genre is defined such as setting, of Herrmann; in particular it can make sense of the an- mood and audience. In a way quite unlike its co- guish Herrmann had on the question of whether his ar- genres, fantasy moves with infinite flexibility between tistic self-expression could include contemporary ver- locations ‒ the world (almost) as we know it, histori- nacular styles of music, or needed to exclude them. cal, futuristic or mythic locations; between moods ‒ The essay concludes with a brief discussion of the heroic, epic, magical; and between audiences ‒ chil- term “classic”, and also of current methodology in the dren, teens, adults. In English-language cinema, it en- field of “popular music studies”. (Vorlage) compasses the grand mythic narratives of Lord of the Rings, Legend and The Seventh Voyage of Sinbad, the Green, Edward: Steiner, Korngold and the Musical heroic narratives of Superman, Flash Gordon and In- diana Jones and the magical narratives of Labyrinth, Expression of Physical Space. A Preliminary Note. Edward Scissorhands and the Harry Potter series, to In: International Review of the Aesthetics and Soci- name just some of films that typify the variety that the ology of Music 42,1, June 2011, S. 59–78. genre offers. What these films all have in common is a requirement that the audience accepts the a fundamen- Green, Jessica: Understanding the Score: Film Mu- tal break with reality within the diegesis of the filmic sic Communicating to and Influencing the Audience. narrative, and embraces magic in its many and various In: Journal of Aesthetic Education 44,4, Winter forms, sometimes benign, sometimes not. This vol- 2010, S. 81–94. ume examines music in fantasy cinema across a broad historical perspective, from Bernard Herrmannʼs Guiraud, Bernard: La musique au cinéma et dans scores for Ray Harryhausen, through the popular music scores of the 1980s to contemporary scores for lʼaudiovisuel. Nice: Baie des Anges 2014, 189 S. films such as The Mummy and the Harry Potter series, allowing the reader to see not only the way that the Hacohen, Ruth / Wagner, Naphtali: The Communi- musical strategies of fantasy scoring have changed cative Force of Wagner’s Leitmotifs: Complementa- over time but also to appreciate the inventiveness of ry Relationships Between Their Connotations and composers such as Bernard Herrmann, John Williams, Denotations. In: Music Perception: An Interdiscipli- Jerry Goldsmith, Danny Elfman and Elliot Golden- nary Journal 14,4, July 1997, S. 445–475. thal, and popular musicians such as Queen and David Bowie in evoking the mythic, the magical and the Hacquard, Georges: La Musique et le cinéma. Paris: monstrous in their music for fantasy film. Presses universitaires de France 1959, 115 S. Inhalt: Introduction: Finding Fantasy / Janet K. Half- yard (1–15). ‒ Fantasy and the Exotic Other: The Films of Ray Harryhausen / Mark Brill (16–39). ‒ Nu- Haines, John Dickinson: Music in films on the Mid- minous Ambience: Spirituality, Dreamtimes and Fan- dle Ages. Authenticity vs. Fantasy. New York, tastic Aboriginality / Philip Hayward (40–57). ‒ Who Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 22

Wants to Live Forever: Glain Rock, Queen and Fanta- Hayward, Philip: Whimsical complexity. Music and sy Film / J. Drew Stephen (58–78). ‒ Fantasy Meets sound design in The Clangers. In: Animation Jour- Electronica: Legend and the Music of Tangerine nal 17,1, 2009, S. 36–51. Dream / Lee Barron (79–94). ‒ Entering the Laby- rinth: How Henson and Bowie Created a Musical Fan- Hayward, Philip: Polar grooves. Dance, music and tasy / Liz Giuffre (95–110). ‒ Superman as Mythic Narrative: Music, Romanticism and the ʽOneiric Cli- musicality in Happy Feet. In: Drawn to Sound: Ani- mateʼ / Ben Winters (111–131). ‒ Music and Fantasy mation Film Music and Sonicity. Ed. by Rebecca Types in Tim Burtonʼs Edward Scissorhands / Alex- Coyle. London/Oakville, CT: Equinox 2010, S. 90– ander G. Binns (132–147). ‒ The Tritone Within: In- 103. terpreting Harmony in Elliot Goldenthalʼs Score for Die Musik im Film Happy Feet ist originale Filmmu- Final Fantasy: The Spirits Within / Scott Murphy sik, Popmusik sowie Steptanzmusik; alle drei Musik- (148–174). ‒ Scoring Fantasy Girls: Music and Fe- arten durchmischen sich bzw. überlappen sich, wie male Agency in Indiana Jones and The Mummy gezeigt werden kann, deutlich. films / Janet K. Halfyard and Victoria Hancock (175– 192). ‒ Creating Magic with Music: The Changing Hayward, Philip: All mashed up? songs, music and Dramatic Relationship between Music and Magic in allusionism in The loved ones (2009). In: Screen Harry Potter Films / Jamie L. Webster (193–217). ‒ Sound: The Australasian Journal of Soundtrack Superconductors: Music, Fantasy and Science in The Studies 3, 2012, S. 35–50. Sorcererʼs Apprentice / Janet K. Halfyard (218–232). The article considers Australian director Sean Byrne’s 2009 horror/comedy feature film The Loved Ones with Hall, Kenneth E.: John Woo: The Films. Foreword particular regard to its uses of allusionism within a by Tony Williams. 2nd ed., Jefferson, NC: McFar- popular genre context.1 Within this focus, the article land 2012, x, 218 S. explores the various musical components of the Darin u.a.: Music in the films. soundtrack (including critical use of specific songs), the creative template determined by the director and Hanna, Suzie: Composers and animators. The crea- the creative input and decision making of various tion of interpretative and collaborative vocabularies. members of the production team. In this manner, the In: Journal of Media Practice 9,1, 2008, S. 29–41. article profiles the film’s audio-visual text, the per- ceptions and motivations of the production team and considers how these relate to the film’s reception and Hanssen, Tina Rigby: The omnipresent soundscape box-office performance. of drones. Reflections on Bill Viola’s sound design in Five Angels for the Millennium. In: The Hedling, Erik: Music, lust and modernity: Jazz in the Soundtrack 2,2, 2009, S. 127–141. films of Ingmar Bergman. In: The Soundtrack 4,2, Oct. 2011, pp. 89–99. Harrell, Jean G.: Phenomenology of Film Music. In: Journal of Value Inquiry 14, Spring 1980, S. 23–34. Heiland, Konrad […] (Hrsg.): Der Soundtrack unse- rer Träume. Filmmusik und Psychoanalyse. Gießen: Haverkamp, Michael: Synästhetisches Design. Krea- Psychosozial-Verlag 2013, 271 S. (Imago.). tive Produktentwicklung für alle Sinne. München/ Mathias Hirsch: Einige Gedanken zur Wirkung und Wien: Hanser 2009, XI, 427 S., 1 CD. Funktion von Musik im Film / 17 – Sebastian Leikert: Engl.: Synesthetic Design: Handbook for a Multisen- Von der Musik der Bilder. Versuch zur ästhetischen sory Approach. Basel: Birkhäuser [2013], 472 S. Form der Filmkunst / 35 – Johannes Hirsch: Musik Darin: Visualization of noise and music: Artistic and und Stille im Film / 53 – Helga de la Motte-Haber: technical visualization; Musical notation, graphics, Stummfilm ‒ ein audiovisuelles Medium. Notwendig- and film. keit musikalischer Begleitung zum bewegten Bild / 69 – Hannes König: Mit Hingabe zum Schaudern. Über Haworth, Catherine: Introduction: Gender, Sexuali- das Unheimliche in der Musik von Die neun Pforten ty, and the Soundtrack. In: Music, Sound, and the (1999) / 81 – Matthias Hornschuh: Why So Serious? Moving Image 6,2, 2012, S. 113–135. Filmmusik als Miterzähler in Christopher Nolans The Dark Knight (2008) / 95 – Willem Strank: Markierun- Hayward, Philip (ed.): Sight Reading: Music Videos, gen des Irrealen. Zur Andeutung alternativer Realitäts- MTV and Movie Soundtracks, Rap, Radio and Indus- zustände durch Filmmusik / 115 – Andreas Jacke: Todes-Rezeptionen.Händel und Wagner in Lars von trial Analysis. Umina: Perfect Beat, 1992, 98 S. [= Triers Antichrist (2009) und Melancholia (2011) / 127 Themenheft der Perfect Beat: The Pacific Journal of – Konrad Heiland: Die Hochzeit von Ton und Bild bei Research into Contemporary Music and Popular David Lynch, die Tonspur als eigenständiges Kunst- Culture 1,1, 1992.] werk bei Jean-Luc Godard / 143 – Konrad Heiland: Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 23

Tonspuren im Schnee. Zur Filmmusik von Stanley preexisting music in the television series. Kubricks TheShining (1980) / 165 – Theo Piegler & Konrad Heiland: Rettungsfantasien in Bild und Ton. Heldt, Guido: Music and Levels of Narration in Psychoanalytische Betrachtungen über die Filme Ver- Film: Steps across the Border. Bristol/Chicago, IL: tigo (Hitchcock 1958) und The Artist (Hazanavicius Intellect 2013, x, 290 S. 2011) / 171 – Irene Kletschke: Gemalte Träume. Walt Music and Levels of Narration in Film is the first Disneys Fantasia (1940) / 211 – Stephan Brüggen- book-length study to synthesize scholarly contribu- thies: Schicksal und Zufall, Schuld und Reue. Die Mu- tions toward a narrative theory of film music. Moving sikdramaturgie von Magnoiia (1999) / 225 – Enjott beyond the distinction between diegetic and nondie- Schneider: Filmmusik-Traumarbeit in surrealer Welt. getic music–or music that is not understood as part of Ein persönlicher Bericht aus der Komponistenwerk- a filmʼs “story world”–Guido Heldt systematically statt / 231 – Interview mit der Musikerin und Kompo- discusses music at different levels of narration, from nistin Christina Fuchs (Mai 2012): Auf der Transsib. the extrafictional to “focalizations” of subjectivity. ZurVertonung eines Dokumentarfilms über die Trans- Heldt then applies this conceptual toolkit to study the sibirische Eisenbahn / 245 – Andreas Jacke: »Mi- narrative strategies of music in individual films, as mique« ‒ durch den Körper versinnbildlichte Musik well as genres, including musicals and horror films. im Film: David Bowie und Marilyn Monroe / 249. The resulting volume will be an indispensable resource for anyone researching or studying film music Heimerdinger, Julia: Music and sound in the horror or film narratology. film & why some modern and avant-garde music lends itself to it so well. In: Seiltanz. Zeitschrift für Heldt, Guido / Krohn, Tarek / Moormann, Peter / aktuelle Musik 4, 2012, S. 4–16. Strank, Willem (Hrsg.): FilmMusik: Ennio Morrico- ne. München: Text + Kritik 2014, 170 S. Hein, Birgit: Die Idee von Musik und die Idee von (FilmMusik. 1.). Film: Cage ‒ Fluxus ‒ Film. In: “John Cage und...” Ennio Morricone became well-known because of his Bildender Künstler ‒ Einflüsse, Anregungen. [An- compositions for Sergio Leone’s Italian western films lässlich der gleichnamigen Ausstellung in der Aka- in the 1960s. But their specific sound is just one as- demie der Künste, Berlin, vom 30. März bis 17. Juni pect of his versatile work which encompasses – 2012 und dem Museum der Moderne Salzburg, 14. among more than 500 compositions for films and tele- Juli bis 7. Oktober 2012]. Hrsg. v. Wulf Herzogen- vision – classical orchestral music, avant-garde jazz, rath. Köln: DuMont 2012, S. 154–162. electronic music and allusions of contemporary pop music genres. The first volume of the book series “FilmMusik” addresses this many-sidedness of Morri- Heldt, Guido: ‘… thereʼs no music playing, and itʼs cone’s composing and also includes an exclusive in- not snowing’. Songs and Self-reflexivity in Curtis- terview with the maestro himself, conducted by Ornel- land. In: Music, Sound, and the Moving Image 6,1, la Calvano and Robert Rabenalt. The authors are Ro- 2012, S. 73–91. berto Calabretto, Stefan Drees, Christiane Hausmann, Sergio Miceli, Franco Sciannameo and Timothy Sum- Heldt, Guido: Hör-Spiele. Filmmusik und Imagina- mers. tionssteuerung. In: Auslassen, Andeuten, Auffüllen. Der Film und die Imagination des Zuschauers. Hrsg. Henderson, Clara: “When hearts beat like native v. Julian Hanich u. Hans J. Wulff. München: Fink drums”: Music and the sexual dimensions of the no- 2012, S. 121–141. tions of “savage” and “civilized” in Tarzan and His Mate, 1934. In: Africa Today 48,4, 2002, S. 90–124. Heldt, Guido: Music and Mildred Pierce, 1945 and Since the advent of sound in film, music has provided 2011. In: Screen 54,3, Autumn 2013, S. 403–409. a vital counterpoint to the stunning visuals and electri- Remakes of classic texts are an integral part of todayʼs fying action of Hollywood productions. Offering more film and television landscape, but ‘remake’ can mean than a tangential backdrop of auditory color, music very different things. At one end of the scale is a de- plays a significant role in creating and defining the tailed recreation such as Gus van Santʼs Psycho images portrayed in film. Though the part music plays (1998), at the other end, for example, sits Todd in shaping these images is often overlooked, its pow- Haynesʼs HBO miniseries Mildred Pierce (2011), erful influence on the North American general pub- which seems related to the 1945 film mainly ex nega- licʼs understanding of peoples, places, and ideas as tivo, instead harking back to James M. Cainʼs 1941 they are constructed by Hollywood cannot be underes- novel. This differentiation also applies to the music in timated. Of the many Hollywood films made about the two adaptations: Max Steinerʼs 1945 score, a clas- Africa, perhaps the Tarzan films are some of the most sic example of studio-era Hollywood scoring, con- pervasive in creating stereotyped notions of African trasts strongly with the calm simplicity of Carter Bur- peoples, geography, and social organization. An ex- wellʼs original music and the more elaborate use of amination of the portrayal of Africa and Africans in Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 24

one of the Tarzan films provides a window into how rette und Operette im Film der NS-Zeit (181–210). music has been used to generate these stereotypes and calls into question the degree to which these (mis)con- Henzel, Christoph: Sinfonische Filmmusik in Veit ceptions, under the same or different guises, have sur- Harlans Opfergang (1944). In: Ton-Spuren aus der vived into the twenty-first century. Alten Welt. Europäische Filmmusik bis 1945. Hrsg. v. Ivana Rentsch u. Arne Stollberg. München: edi- Henry, Clarence Bernard: Quincy Jones: his life in tion text + kritik 2013, S. 248–265 music. Jackson: University Press of Mississippi [2013], xxi, 183 S. Herrmann, Bernard: Contemporary Use of Music in Darin: On “Q” in Hollywood. Film: Citizen Kane, Psycho, Fahrenheit 451. In: University Film Study Center Newsletter Supple- Hentschel, Frank: Töne der Angst. Die Musik im ment (Cambridge, MA) 7,3, Febr. 1977, S. 5‒10 Horrorfilm. Berlin: Bertz + Fischer 2011, 254 S., 1 DVD-Video (Deep Focus. 12.). Hewer, Anna Katharina: Schweizer Filmmusik im Rez. (Drees, Stefan) in: Die Tonkunst 6, 2012, S. 564– 566. Zeichen der “geistigen Landesverteidigung”. Robert Rez. (Stefanie Klos) in: Medienwissenschaft: Rezen- Blums Füsilier Wipf (1938) und Gilberte de Courge- sionen, 2, 2012, S. 214–216. nay (1941). In: Ton-Spuren aus der Alten Welt. Eu- Rez. (Uwe Breitenborn) in: TV Diskurs 16,2, 2012, S. ropäische Filmmusik bis 1945. Hrsg. v. Ivana 94. Rentsch und Arne Stollberg. München: edition text Dazu: Kritik am “American Dream”. Interview von + kritik 2013, S. 295–301. Reinhard Jellen mit Frank Hentschel über den klassischen Horrorfilm (13.11.2011). In: Telepolis, Heymann, Werner Richard: “Liebling, mein Herz URL: . der UFA-Zeit erinnert sich. Hrsg. v. Hubert Ortkem- per. Mainz: Schott 2011, 368 S., 1 CD. Henzel, Christoph (Hrsg.): Geschichte ‒ Musik ‒ Film. [= Colloquium Musikgeschichte im Film, Hickman, Roger: Wavering Sonorities and the Nas- Würzburg.] Würzburg: Königshausen & Neumann cent Film Noir Musical Style. In: Journal of Film 2010, 246 S. Music 2,2–4, Winter 2009, S. 165–174. Rez. (Tarek Krohn) in: Kieler Beiträge zur Filmmu- sikforschung 8, 2012, S. 316–321. Hickman, Roger: Miklós Rózsaʼs “Ben-Hur”: A Henzel, Christoph (Hrsg.): Musik im Unterhaltungs- Film Score Guide. Lanham, MD/Plymouth, UK: kino des Dritten Reichs. [Akten des Colloquiums Scarecrow Press 2011, xvi, 158 S. (Scarecrow Film „Musik im Unterhaltungskino des Dritten Reichs“, Score Guides. 10.). Würzburg 23.-24.4.2010.)] Würzburg: Königshau- Miklós Rózsaʼs musical background ‒ Rózsaʼs technique of film scoring ‒ The historical and critical con- sen & Neumann 2011, 223 S. text of Ben-Hur ‒ The music and its context ‒ An an- Inhalt: Christoph Henzel: Einleitung (9–24). ‒ Harro alysis of the score. Segeberg: Audiovision. Mediale Mobilmachung im Dritten Reich (mit einem Exkurs zum Zuschauer im NS-Kino) (25–40). ‒ Matthias Hurst: „Piloten ist Hiekel, Jörn Peter (Hrsg.): Wechselwirkungen. Neue nichts verboten” und „Jede Nacht ein neues Glück”: Musik und Film. Hofheim am Taunus: Wolke 2012, Unterhaltungskino und Filmmusik im Spannungsfeld 128 S. ideologischer Werte (41–76). ‒ Hans-Peter Fuhrmann: Inhalt: Jörn Peter Hiekel: Intermediale Substanzge- Filmmusik und Mentalität in der nationalsozialisti- meinschaften. Über das Zusammenwirken von musi- schen Filmproduktion während des Zweiten Welt- kalischen und filmischen Gestaltungen (9–20). ‒ Cor- kriegs am Beispiel der Spielfilme Die Feuerzangen- nelius Schwehr: Neue Musik oder Neue Filmmusik. bowle, Karneval der Liebe und Immensee (77–92). ‒ Zum Verhältnis von Musik und Film (21–28). ‒ Ma- Michael Wedel: Synchronisierung der Sinne — Syn- nuel Gervink: Symphonie diagonale ‒ Abstrakte Filme chronisierung des Sinns? Tonfilmumstellung, Musik- und ihr Musikbezug (29–40). ‒ Oliver Wiener: „Wie filmästhetik, NS-Ideologie (93–114). ‒ Guido Heldt: ein fernes Echo, wie außerirdisches Rauschen”. Elek- Wirklichkeit und Wochenschau: Die Fiktionalisierung tronische Musik als Signatur imaginärer Räume im des Krieges im Musikfilm des Dritten Reiches (115– und hinterm Film (41–64). ‒ Martin Zenck: Zur Funk- 140). ‒ Panja Mücke: Vielschichtige Offerten: Eduard tionalität/Dysfunktionalität und Autonomie von Musik Künnekes Filmkompositionen im Dritten Reich (141– im Film (65–80). ‒ Stefan Drees: Filmmusik ‒ Film- 154). ‒ Christoph Henzel: Zur Filmsymphonik in Musik ‒ Musik-Film. Zum Wechselverhältnis zweier Deutschland (155–180). ‒ Kevin Clarke: „Wir ma- Medien im Schaffen Olga Neuwirths (81–97). ‒ Georg chen Musik, da geht uns der Hut hoch”. Zur Filmope- Katzer: „birdie sings, music sings” (99–104). ‒ Henry Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 25

Keazor: „the most intimate, vital, and passionate per- gungskünste. Würzburg: Königshausen & Neumann formance (...) yet committed to film”: Mark Roma- 2012, S. 501–518. neks Coldplay-Video Speed of Sound (105–124). Hoffmann, Bernd: Liebe, Jazz und Übermut. Der Hiekel, Jörn Peter: Intermediale Substanzgemein- swingende Heimatfilm der 1950er Jahre. In: Helmut schaften. Über das Zusammenwirken von musikali- Rösing (Hrsg.): Heimatlose Klänge? Regionale Mu- schen und filmischen Gestaltungen. In: Wechselwir- siklandschaften heute. Karben: CODA 2002, S. 259– kungen. Neue Musik und Film. Hrsg. v. Jörn Peter 277 (Beiträge zur Popularmusikforschung. 29/30.). Hiekel. Hofheim am Taunus: Wolke 2012, S. 9–20. Hoffmann, Bernd: Way down upon the Suwannee Higbee, Will: Displaced audio: Exploring sound- River. „Jazz“-Adaptionen im frühen experimentellen scapes in Maghrebi-French film-making. In: Cross- Tonfilm der USA. In: Andreas Eichhorn / Reinhard ings: Journal of Migration & Culture 3,2, Nov 2012, Schneider (Hrsg.): Musik – Pädagogik – Dialoge. S. 213–225. Festschrift für Thomas Ott. München: Allitera Ver- The article examines the use of sound in Maghrebi- lag 2011, S. 86–103 (Musik – Kontexte – Perspekti- French film-making since the early 1980s, arguing for ve. 1.). a greater need to explore the role of the soundtrack and music in this area of contemporary French/franco- phone cinema, as well as in diasporic and postcolonial Hoffmann, Bernd: Ruß im Gesicht: Zur Inszenierung cinema more generally. The article analyses a range of US-amerikanischer Musical Shorts. In: Jazzfor- films by Maghrebi-French directors, characterized by schung / Jazz Research 44, 2012 [2013], S. 160– what might be termed ʻdisplaced audioʼ. Particular at- 184. tention will be paid to the concepts of accented voice and heteroglossia, the layering and displacement of Hoffmann, Bernd: Alltag im Jazz-Himmel. Die Mu- sound, and the subversion of more Eurocentric associ- sical Shorts der 1930er Jahre. In: Andreas Eichhorn / ations of music in film as an ethnic marker. Helmke Jan Kaeden (Hrsg.): Musikkulturen und Mu- sikpädagogik. Festschrift für Reinhard Schneider. Hills, Matt: Listening from behind the sofa? The München: Allitera Verlag 2014, S. 101–123 (Musik (un)earthly roles of sound in BBC Wales’ Doctor – Kontexte – Perspektiv. 4.). Who. In: New Review of Film and Television Studies 9,1, 2011, S. 28–41. Hoffmann, Bernd: Alltag im Jazzhimmel und Eisge- kühlter Hot. In: Musikpädagogik und Musikkulturen. Hinterberger, Julia: „Gʼfäudes Wien“. Musik, Iden- Festschrift für Reinhard Schneider. Hrsg. v. Andreas tität und Raum in Steinwendners Avantgardefilm Eichhorn u. Helmke Jan Keden. München: Alli- Wienerinnen – Schrei nach Liebe. In: Die Künste tera-Verlag 2013, S. 103–125 (Musik, Kontexte, der Nachkriegszeit. Musik, Literatur und bildende Perspektiven. 4.). Kunst in Österreich. Hrsg. v. Schmidl, Stefan. [Wien]: Böhlau Wien 2013, S. 105–116 (Wiener Hofmann, Charles: Sound for Silents. New York: Musikwissenschaftliche Beiträge. 23.). Drama Book Specialists 1970, 98 S. Historical and practical account, includes musical ex- Hoffmann, Bernd: Anmerkungen zu poetischen und amples. visuellen Konzepten im afro- amerikanischen Video- clip. In: Thomas Phleps (Hg.) Populäre Musik im Holbrook, Morris B.: Music, Movies, Meanings, and kulturwissenschaftliche Diskurs II. Karben: Coda Markets: Cinemajazzamatazz. New York/Abingdon, 2001, 53–66 (Beiträge zur Popularmusikforschung. Oxon: Routledge 2011, xxiv, 382 S. (Routledge In- 27/28.). terpretive Marketing Research. 14.). Inhalt: Introduction: Ambi-Diegetic Music in Motion Hoffmann, Bernd: Und der Duke weinte. Afro-Ame- Pictures (1–54). ‒ Ambi-Diegetic Jazz and the Devel- rikanische Musik im Film. Zu Arbeiten des Regis- opment of Character (55–142). ‒ The Plot Thickens: seurs Dudley Murphy (1929). In: Jazzforschung / Cinemusical Meanings in the Crime-Plus-Jazz Genre Jazz Research 39, 2007, S. 119–152. (143–170). ‒ Jazz, Films, and Macromarketing Themes: Art versus Commerce in the Young Man- Hoffmann, Bernd: Lindy Hop und Cotton Club. with-a-Horn Genre (171–212). ‒ Ambi-Diegetic, Non- diegetic, and Diegetic Cinemusical Meanings in Mo- Tanz im frühen US-amerikanischen Film. In: Ste- tion Pictures: Commerce, Art, and Brando Loyalty . . . phanie Schroedter (Hrsg.): Bewegungen zwischen or . . . De Niro, My God, to Thee (213–240). ‒ God Is Hören und Sehen. Denkbewegungen über Bewe- in the Details (241–270). ‒ Jazz Biopics as Tragedy Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 26

and Comedy: Pivotal Ambi-Diegetic Cinemusical Mo- See: Dissertation Abstracts International, Section A: ments in Tragedepictions and Comedepictions of Jazz Humanities and Social Sciences 74,8–A(E), 2014. Heroes (271–360). The purpose of this dissertation is to analyze the different types of music featured in the films of contem- Holliday, Christopher: Emotion Capture: Vocal per- porary American film director Wes Anderson utilizing formances by Children in the Computer-animated Claudia Gorbmanʼs concepts of auteur music and au- Film. In: Alphaville, 3, Summer 2012. teur mélomane . This analysis establishes the music in URL: . self as an auteur mélomane – a director with a passion The customary practice across both feature-length cel- for music. To establish Anderson as a mélomane, it is animated cartoons and television animation has been important to look not only at the different types of mu- to cast adults in the vocal roles of children. While sic found in his films but also the different ways that these concerns raise broader questions about the per- the music is used within the films and his collabora- formance of children and childhood in animation, in tion with composer Mark Mothersbaugh and music su- this article I seek to examine the tendency within com- pervisor Randall Poster. Andersonʼs films feature sev- puter-animated films to cast children-as-children. eral different ways that music is used, but there are These films, I argue, offer the pleasures of “captured” three specific uses that contribute to his overall author- performance, and foreground what Roland Barthes ial signature: the songs associated with montage se- terms the “grain” of the child’s voice. By examining quences, the songs and original score used to accom- the meaningless “babbling” and spontaneous vocali- pany scenes featuring slow-motion sequences, and fi- sations of the aptly-named child Boo from Pixar’s nally the songs that emanate from musical devices. Monsters, Inc. (2001), this article offers new ways of The music used in Andersonʼs films is a significant conceptualising the relationship between animation part of his overall authorial signature, and this is estab- and voiceover, suggesting that computer-animated lished by detailing the specific ways that the music is films celebrate childhood by emphasising the verbal used in his first five feature-length films and two of mannerisms and vicissitudes of the unprompted child his short films. actor. The calculated fit between the digital children onscreen and the rhythms of their unrefined speech Hubai, Gergely: Torn Music: Rejected Film Scores, expresses an active engagement with the pleasures of a Selected History. Los Angeles: Silman-James simply being young, rather than privileging growing 2012, xx, 476 S. up. Monsters, Inc. deliberately accentuates how the A film is finished and almost ready to make its way character’s screen voice is authentically made by a into theaters, but one or more of its prime movers child-as-a-child, preserving the unique vocal capabili- (producer, director, studio brass) contends that it ties of four-year-old Mary Gibbs as Boo, whilst fram- doesnʼt feel right. What can be almost instantaneously ing her performance in a narrative which dramatises changed to give it a new “feel”? The last element that the powers held within the voice of children. was added–its music! So, often regardless of whether a film actually needs a new score, a new composer is Hörmann, Georg: “Davon geht die Welt nicht un- hired at the last minute to quickly replace a previous ter”. In: Musik-, Tanz- und Kunsttherapie 16,4, composerʼs often-heartfelt work. In Hollywood and 2005, S. 198–204. around the world, scores have been rejected and replaced for every conceivable reason–style, quality, Das bekannte Lied “Davon geht die Welt nicht unter” composerʼs name recognition, test-audienceʼs reac- aus dem Film Die Große Liebe (1942) gibt Anlass, die tion, a pictureʼs reediting, etc. Sometimes new music Rolle und Funktion von Filmmusik im Kontext ihrer improves a film; sometimes it doesnʼt. Such score Aufgabe nicht nur als Unterhaltungsmittel, sondern als replacements, which are more common than one nationales “Erziehungsmittel” (Goebbels) zu reflektie- might imagine, affect the work of the most famous ren. Die “Große Liebe” wird über die Abkehr von der and respected composers in the business as much as “Neuen Liebe” bis hin zur Zuwendung zu “großen Ge- they do novice and unknown composers. In Torn Mu- fühlen” in einer musikalischen Zeitreise anhand be- sic (which takes its title from one of the most famous kannter Songs zwischen Durchhaltewillen, Espakis- score replacements, the film Torn Curtain, which put musbedürfnissen, Traumwelten und Glückssehnsucht an end to the long and fruitful collaboration of director jenseits von Defätismus und Resignation illustriert. Alfred Hitchcock and composer Bernard Herrmann), Zur ästhetischen Bearbeitung von Liebe, Leid, Kum- author Gergely Hubai presents the often strange, and mer und Glückshoffnungen im pädagogisch-therapeu- sometimes wild, stories behind 300 rejected and re- tischen Setting wird mit praktischen Anregungen er- placed film scores from the 1930s through the 2000s. muntert. In these pages are behind-the-scenes tales about the music for popular films and forgotten films, high cine- Hrycaj, Lara: What is This Music? Auteur Music in ma art and lowbrow exploitation movies, as well as the Films of Wes Anderson. Ph.D. Thesis, Detroit, television programs and even a video game. MI: Wayne State University 2013, 263 S. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 27

Hubbert, Julie: ‘Whatever Happened to Great Movie mission-the cinema of the future ‒ The damned ‒ Al- Music?’ Cinéma Vérité and Hollywood Film Music ternative visions. of the Early 1970s. In: American Music 21,2, July Summary: This book explores the complex relation- 2003, S. 180–213. ship between themes and ideals of German Romanti- cism; their impact on the Third Reich catastrophe; how the German Romantic movement led to Nazism, Hubbert, Julia Bess: The compilation soundtrack and contrasts the ways in which filmmakers have pre- from the 1960s to the present. In: The Oxford Hand- sented this continuum. Works discussed are Richard book of Film Music Studies. Ed. by David Neumey- Wagner, Thomas Mann, Friedrich Nietzsche, Hans- er. Oxford/New York: Oxford University Press Jürgen Syberberg, Ken Russell, Tony Palmer and 2014, S. 291-318. others.

Huber, Clara: The country girl, the emperor and Hunter, Aaron: When is the Now in the Here and some saltsticks. The musical film Spring Parade, its There? Trans-diegetic Music in Hal Ashby’s Com- affinity to Viennese operetta and the changing con- ing Home. In: Alphaville, 3, Summer 2012. texts of its screen adaptations. In: From Stage to URL: . (1927–1961). Ed. by Massimiliano Sala. Turnhout: While it would be a stretch to classify Hal Ashby as a Brepols 2012, S. 125–142. postmodernist filmmaker (with that term’s many at- tendant ambiguities), his films of the 1970s regularly evince post-Classical stylistic and narrative strategies, Huck, Oliver: Das musikalische Drama im Stumm- including non-linear time structures, inter-textual self- film. Oper, Tonbild und Musik im Film dʼArt. Hil- references, open endings, and nuanced subversions of desheim/New York: Olms 2012, X, 338 S. the fourth wall. Ashby’s most consistently playful ap- Die Analogiebildung zwischen einem von Musik be- proach to form comes by way of his integration and gleiteten Stummfilm und der Oper ist in Europa eine development of trans-diegetic musical sequences vor allem deutsche Perspektive. Sie ist ohne Richard within his body of work. Music in Ashby films creates Wagners Konzeption des musikalischen Dramas als a lively sense of unpredictability, and each of his se- Gesamtkunstwerk nicht denkbar. Wenn die Oper viel- ven films of the 1970s employs this strategy at least fach zum Vergleich herangezogen wurde, obwohl Ge- once. Moreover, trans-diegetic music in Ashby’s films sang zur Begleitung von Filmen (wie etwa in den Ton- becomes a device that allows the director to elide mo- bildern und Lichtspielopern) eine Ausnahme bildete, ments in time. It functions as an editing tool, creating so weil eine Reihe von frühen Filmen auf Sujets zu- a bridge between often disparate events. However, it is rückgreift, die durch die Oper bekannt waren. Jene also a narrative device that both compresses and stret- Filme, die direkt auf Opern rekurrieren, prägen einen ches time, allowing for an on-screen confluence of Rezeptionsmodus kompilierter Filmmusik als ein Netz events that at first appear to take place simultaneously intertextueller Verweise aus. Sie leisten damit ebenso or sequentially, but which actually occur over dif- wie jene Films d’Art, die sich nach dem Vorbild der ferent moments or lengths of time. Yet while Ashby is Oper der Vermarktung einer Medienkombination aus not alone as a Hollywood director interested in explor- Klavierauszügen originaler komponierter Filmmusik, ing the formal possibilities that trans-diegesis might Libretti und Leitmotivtafeln bedienen, einen zentralen bring to his movies, film studies has begun only rela- Beitrag zur Herausbildung eines künstlerischen Films tively recently to explore and analyse this technique. als „Gesamtkunstwerk“. Sechs exemplarische Studien After briefly discussing the current critical discussion zur Musik in Filmen, die auf Wagners Musikdramen, of trans-diegetic music and explicating patterns of its Gounods Faust und Bizets Carmen sowie den Opern use in Ashby’s career, this paper explores an extended des Verismo basieren, sowie zu den Anfängen der mu- display of the strategy in the film Coming Home sikalischen Begleitung des künstlerisch ambitionierten (1978). By interrogating its use as both narrative de- Films in Frankreich, Italien und Deutschland werden vice and formal convention in this instance, the paper durch eine kurze Geschichte der Oper im frühen Film attempts both to understand trans-diegesis as a key und einen Ausblick auf „Kino-Bilder“ und Musik bei component of Ashby’s filmmaking style and also to Wagners Erben abgerundet. forge ahead in expanding the discussion of trans-diegesis within film studies. Huckvale, David: Visconti and the German Dream: Romanticism, Wagner and the Nazi Catastrophe in Hust, Christoph: Perspektiven auf das Fremde. Ori- Film. Jefferson, NC: McFarland 2012, vii, 224 S. entalismus in der deutschen und amerikanischen Ki- Inhalt: Wagner in Italy ‒ Ludwig, Wagner and Hitler ‒ nomusik der Stummfilmzeit und sein Echo im Vide- First intermission-the birth of Hitler from the spirit of ospiel. In: Ton-Spuren aus der Alten Welt. Europäi- virtuosity ‒ Mannʼs “Death in Venice” ‒ Second inter- sche Filmmusik bis 1945. Hrsg. v. Ivana Rentsch mission-Pan, paganism and Arcadia ‒ Viscontiʼs Death in Venice ‒ Gotterdammerung ‒ Third inter- und Arne Stollberg. München: edition text + kritik Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 28

2013, S. 27–54. de naheliegend, von Musik im Film zu sprechen, war sie doch genau genommen dort Musik zu einem Film, Hutchins, Amber: Cue the Lights and Music: How so war es schon für den Zuschauer damals möglich, Cinematic Devices Contribute to the Perpetuation of sich die Musik als zur Szene gehörig vorzustellen. Romantic Myths in Baz Luhrmannʼs Moulin Rouge. Selbst als die Bilder sprechen lernten, verlor dieser Aspekt nicht seine Gültigkeit. Die zu hörende Musik In: Critical Thinking about Sex, Love, and Romance konnte als Teil der Filmhandlung oder als Begleitung in the Mass Media. Eds.: Galician, Mary-Lou / Mer- zum Film erklingen. Dass mit der Einführung der skin, Debra L. Mahwah, N.J.: Lawrence Erlbaum Tonspur nun die Musik zum Film unveränderlich fest- 2007, S.239–246. gelegt werden konnte, war nur eine der radikalen Ver- änderungen des Tonfilms. Blieben auch die wesentli- Inglis, Ian: Music into movies: the film of the song. chen Eigenschaften von Filmmusik, wie etwa ihre In: Cartmell, Deborah (ed.): A Companion to Litera- fragmentarische und eklektische Form, bis heute be- ture, Film, and Adaptation. Chichester, West Sus- stehen, so beruht sie doch auf Codes und Regeln, die sex/Malden, MA: Wiley 2012, S. 312–329 (Black- in einem ständigen Wandel immer wieder vom Zu- well Companions to Literature and Culture. 81.). schauer akzeptiert werden. Kompositorische Merkma- le sind häufig mit einer Filmkomponistengeneration verbunden, wobei musikalische Zitate und Allusionen Ireland, David: ʽItʼs a sin [...] using Ludwig van like integraler Bestandteil der Filmmusik insgesamt sind. that. He did no harm to anyone, Beethoven just Filmkomponisten sind daher nicht zuletzt gute Arran- wrote musicʼ: The Role of the Incongruent Sound- geure, wie es etwa in Hollywood seit den 30erJahren track in the Representation of the Cinematic Crimi- üblich war. Vor allem liegt ihr Bestreben darin, eine nal. In: Gregoriou, Christiana (ed.): Constructing Musik zu komponieren, die für den Film geschrieben Crime: Discourse and Cultural Representations of ist und nur in Wechselwirkung mit den Bildern ihre Crime and ʽDevianceʼ. Basingstoke: Palgrave Mac- Funktion erfüllt. (Vorlage) millan 2012, S. 97–111. Jaszoltowski, Saskia: Warum Wagner? Musikalische Ivashkin, Alexander / Kirkman, Andrew (ed.): Con- Grenzüberschreitungen in (Zeichentrick-)Filmen. In: templating Shostakovich: Life, Music and Film. Archiv für Musikwissenschaft 69,2, 2012, S. 154– Farnham, Surrey/Burlington, VT: Ashgate 2012, 164. xxviii, 285 S. Richard Wagner is often a point of reference in film Darin: Part II. Film. Madness by design: Hamletʼs music ‒ scholars draw terminological parallels to his state as defined through music / Eric Heine. ‒ Stalin operas and composers quote his themes. His music (and Lenin) at the movies / John Riley. ‒ Hamlet, can be heard not only in feature films but in animated King Lear and their companions: The other side of cartoons, which were an integral part of pre-show pro- film music / Olga Dombrovskaia. gramming during the Golden Age of Hollywood cinema (from the advent of sound to the decline of the studio system in the mid-fifties). And yet animated James, David: The Vietnam War and American Mu- short subjects challenge established methods of musi- sic. In: Social Text 23, Fall/Winter 1989, S. 122– cal analysis in film. Selected examples from “Silly 143. Symphonies” and “Merrie Melodies” illustrate the versatility and flexibility of Wagnerʼs music, with its Janot, Antoine: Le cinéma est-il devenu muet? Paris: capacity to evoke the most divergent associations. LʼHarmattan 2014, 149 S. (Univers musical.). (Vorlage)

Janz, Tobias: Soundtrack des Mythos. Zum musika- Jaszoltowski, Saskia: Animierte Musik ‒ Beseelte lischen Design der James Bond-Filme. In: Astrid Zeichen. Tonspuren anthropomorpher Tiere in Ani- Böger, Marc Föcking (Hrsg.): James Bond. Die Ana- mated Cartoons. Stuttgart: Steiner 2013, 206 S. tomie eines Mythos. Heidelberg: Winter 2012, S. (Archiv für Musikwissenschaft (Archiv für Musik- 185–222. wissenschaft / Beihefte. 74.). Zugl.: Freie Universität Berlin, Diss., 2012. Jaszoltowski, Saskia / Riethmüller, Albrecht: Musik Zeichentrickfilme mit Mickey Mouse, Tom und Jerry im Film. In: Handbuch Musik und Medien. Hrsg. v. oder Bugs Bunny waren in Hollywoods Goldenem Holger Schramm. Konstanz: UVK 2009, S. 149– Zeitalter integraler Bestandteil des Kinoprogramms und erfreuten sich größter Beliebtheit. Mit Anbruch 175. des Tonfilms konnten sich die Cartoonfiguren nicht Seit Beginn des Mediums Film Ende des 19. Jahrhun- nur visuell gebärden, sondern auch durch Musik, Ge- derts besteht eine kaum zu lösende Verbindung zwi- räusche und Stimme unmittelbar akustisch äußern, um schen den sich bewegenden Bildern und Musik. Ist es, beim Publikum eine der menschlichsten emotionalen bezogen auf die Ära des Stummfilms, auch nicht gera- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 29

Reaktionen auszulösen: das Lachen. “Animierte Mu- design in science-fiction cinema more broadly, I sik ‒ Beseelte Zeichen. Tonspuren anthropomorpher analyse aspects of Primer’s soundtrack and sound- Tiere in Animated Cartoons” untersucht das konstitu- image relations to demonstrate how the soundplays tive Zusammenspiel von Bild und Ton in jenen Fil- around with time rather than space, substituting the men, die bis heute nichts an Durchschlagkraft verloren spatial playfulness of big-budget Hollywood sci-fi haben. Aus historischer, technischer und analytischer blockbuster sound with temporal playfulness, in keep- Perspektive wird in dieser Studie das Genre der ani- ing with its time-travel theme. I argue that Primer’s mierten Kurzfilme erschlossen und dabei die Beson- aesthetic approach to the soundtrack is “anti-specta- derheit des Soundtracks herausgearbeitet, der die cle”, working with its mise-en-scène to emphasise the Glaubwürdigkeit der idiosynkratischen Mensch-Tier- mundane and everyday instead of the fantastical, in an Hybride maßgeblich befördert. Mit weitreichenden attempt to lend credibility and “realism” to its time- Bezügen zur Ästhetik und Emotionsforschung erklärt travel conceit. Finally, with reference to scholarship Saskia Jaszoltowski anschaulich, wie Filmmusik die on American independent cinema, I will demonstrate gezeichneten Karikaturen lebendig und menschlich how Primer’s stylistic approach to the soundtrack is werden lässt. (Verlag) configured as a marketable identifier of its “indie”- ness. Jellenik, Glenn: Quiet, music at work. The soundtrack and adaptation. In: Adaptation Studies: New Jones, Ryan Patrick: Copland on Wilder. Sscoring Approaches. Ed. by Christa Albrecht-Crane & Den- existential theatre in early American film. In: From nis Cutchins. Madison, N.J.: Fairleigh Dickinson Stage to Screen: Musical Films in Europe and University Press 2010, S. 221–243. United States (1927–1961). Ed. by Massimiliano Sala. Turnhout: Brepols 8, 2012, S. 143–155. Jenkins, Henry: “If I Could Speak with Your Sound”: Fan music, textual proximity, and liminal Jordan, Randolph: The ecology of listening while identification. In: Camera Obscura, 23, 1990, S. looking in the cinema. Reflective audioviewing in 149–175. Gus van Santʼs Elephant. In: Organised Sound 17,3, On the score for Nicolas Meyer’s Star Trek II. 2012, S. 248–256. This article argues that the state of spatial awareness Joe, Jeongwon: Opera as Soundtrack. Farnham, Sur- engendered by the art of soundscape composition can rey/Burlington, VT: Ashgate 2013, xv, 207 S. (Ash- be productively extended to the act of listening while gate Interdisciplinary Studies in Opera.). looking in the cinema. Central to my argument is how Opera as geno-song ‒ Opera in cinematic death ‒ Ope- Katharine Normanʼs concept of “reflective listening” ra in Woody Allenʼs Match Point ‒ Is cinemaʼs anxie- in soundscape composition can be adapted to “reflec- ty operaʼs envy? ‒ Film divas: the problem and the tive audioviewing” in the audiovisual context of film. power of the singing women ‒ Behind the discourse Norman begins the process of intersecting film theory on the opera-cinema encounter. and the discourse of soundscape composition by ap- pealing to famed Soviet filmmaker Sergei Eisensteinʼs theories of montage to illustrate how soundscape com- Johnson, Henry: Animating and educating Japan. position enables active listener engagement. I extend Nitaboh, music, and cultural nationalism. In: Anima- her discussion of Eisenstein to demonstrate how this tion Journal 17,1, 2009, S. 52–71. filmmakerʼs thinking about sound/image synchronisation in the cinema ‒ and R. Murray Schaferʼs own pre- Johnston, Nessa: Beneath Sci-fi Sound: Primer, Sci- dilection for Eisensteinian dialectics – can be under- ence Fiction Sound Design, and American Indepen- stood as a means towards the practice of reflective au- dent Cinema. In: Alphaville, 3, Summer 2012. dioviewing. I illustrate my argument with an analysis URL: . Westerkamp have been incorporated into Gus Van Primer is a very low budget science-fiction film that Santʼs film Elephant. Attention to the reflective quali- deals with the subject of time travel; however, it looks ties of Westerkampʼs work open up new dimensions and sounds quite distinctively different from other in our experience of the audiovisual construction of films associated with the genre. While Hollywood space in the film. Ultimately I argue that the reflective blockbuster sci-fi relies on “sound spectacle” as a key audioviewing prompted by Elephant can be carried attraction, in contrast Primer sounds “lo-fi” and into considerations of all films that make use of sound screen-centred, mixed to two channel stereo rather design for spatial representation. (Vorlage) than the now industry-standard 5.1 surround sound. Although this is partly a consequence of the econom- Jorgensen, Estelle R.: Music, myth, and education: ics of its production, the aesthetic approach to the The case of the Lord of the Rings film trilogy. In: soundtrack is what makes Primer formally distinctive. Journal of Aesthetic Education 44,1, 2010, S. 44–57. Including a brief exploration of the role of sound Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 30

Jost, François: The Voices of Silence. In: The Kalinak, Kathryn Marie: The Language of Music: A Sounds of Early Cinema. Ed. by Richard Abel & Brief Analysis of Vertigo. In: Movie Music: The Rick Altman. Bloomington, Ind: Indiana University Film Reader. Ed. by Kay Dickinson. London/New Press 2001, S. 48–56. York: Routledge 2003, S. 15–24.

Journal of Popular Music Studies 25,3, Sept. 2013. Kalinak, Kathryn Marie: Typically American: Music = Special Issue: Sonic Visions: Popular Music on Tel- for The Searchers. In: The Searchers: Essays and evision. Includes: Matt Delmont, Murray Forman: Reflections on John Ford’s Classic Western. Ed. by Sonic Visions: Popular Music on Television (293– Peter Lehman & Arthur Eckstein. Detroit, Mich.: 300). – Norma Coates: Excitement is Made, Not Born: Wayne State University Press 2004, S. 109–144. Jack Good, Television, and Rock and Roll (301–325). – Kristen Galvin: TV Party: Downtown New York Scenes Live on Your TV Screen (326–348). – Kelly Kalinak, Kathryn Marie: How the West Was Sung: Kessler: Broadway in the Box: Televisionʼs Infancy Music in the Westerns of John Ford. Berkeley/Los and the Cultural Cachet of the Great White Way (349– Angeles/London: University of California Press 370). – Tim Anderson: From Background Music to 2007, x, 256 S. Above-the-Line Actor: The Rise of the Music Super- Rev. (Tom Schneller) in: The Journal of Film Music visor in Converging Televisual Environments (371– 2, 2–4, Winter 2009, S. 279–282. 388). Kalinak, Kathryn Marie (ed.): Music in the Western: Kagan, Jeremy (ed.): Directors Close up 2: Inter- Notes from the Frontier. New York, NY/Abingdon, views with Directors Nominated for Best Film by the Oxon: Routledge 2012, ix, 237 S. (Routledge Music Directors Guild of America, 2006–2012. Lanham, and Screen Media Series.). Maryland: Scarecrow Press 2013, xiv, 400 S. Essays from both film studies scholars and musicolo- Darin: pt. III: Post-production. Editing ‒ Music and gists on core issues in western film scores: their histo- sound ‒ Benjamin Button storyboard sequence. ry, their generic conventions, their operation as part of a narrative system, their functioning within individual Kaganovsky, Lilya / Salazkina, Masha (eds.): filmic texts and their ideological import, especially in Sound, Speech, Music in Soviet and Post-Soviet Cin- terms of the western’s construction of gender, sexuali- ema. Bloomington, IN: Indiana University Press ty, race and ethnicity. The Hollywood western is marked as uniquely American by its geographic set- 2014, viii, 299S. ting, prototypical male protagonist and core American values. Music in the Western examines these conven- Kalinak, Kathryn Marie: The Dead-End Kid: Flash- tions and the scores that have shaped them. But the dance and Fantasy. In: Jump Cut, 28, Jan. 1984. western also had a resounding international impact, from Europe to Asia, and this volume distinguishes it- Kalinak, Kathryn: Impetoud Rythm: Edmund Mei- self by its careful consideration of music in non-Hol- sel’s Score for Eisenstein’s Battleship Potemkin. In: lywood westerns, such as Ravenous and The Good, Purdue Film Studies Annual 7, 1983, pp. 33–45. the Bad, and the Ugly and in the “easterns” which influenced them, such as Yojimbo. Other films discussed Kalinak, Kathryn Marie: Disturbing the Guests with include Wagon Master, High Noon, Calamity Jane, The Big Country, The Unforgiven, Dead Man, Wild That Racket: Music and Twin Peaks. In: Full of Se- Bill, There Will Be Blood and No Country for Old crets: Critical Approaches to Twin Peaks. Eb. by Men. David Lavery. Detroit, Mich: Wayne State Universi- ty Press 1994, S. 82–92. Kalinak, Kathryn Marie / Dagle, Joan: The Repre- sentation of Race and Sexuality: Visual and Musical Kalinak, Kathryn Marie: How the West Was Sung. Construction in Gone With the Wind. In: Postscript In: Westerns: Films Through History. Ed. by Janet 13,2, Winter/Spring 1994, S. 14–27. Walker. New York […]: Routledge 2001, S. 151– 176. Kapp, Reinhard: Neue Musik und Film bis 1930. In- terdependenzen jenseits der Anwendung. In: Musik- Kalinak, Kathryn Marie: ʽThe Sound of Many Theorie 27,3, 2012, S. 197–212. Voicesʼ: Music in the Films of John Ford. In: John This essay poses the question whether early cinema as Ford Made Westerns: Filming the Legend in the an emerging new medium with its specific material Sound Era. Ed. by Matthew Bernstein & Gaylyn and language may have influenced the development of Studlar. Bloomington: Indiana University Press musical modernism from a structural point of view. 2001, S. 169–192. By adopting formal and medial categories such as time configuration, rhythm, motion, body, mass, Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 31

space, light, or material, the essay puts particular em- Kielian-Gilbert, Marianne: Listening in film. Mu- phasis on the analogies and correspondences which sic/film temporality, materiality, and memory. In: could be drawn between the technical features of si- The Oxford Handbook of Film Music Studies. Ed. by lent film dramaturgy and the devices of musical com- David Neumeyer. Oxford/New York: Oxford Uni- position. (Vorlage) versity Press 2014, S. 500-525. Kassabian, Anahid: Songs of Subjectives: Theorizing Kijak, Stephen: Just a man singing. Scott Walker, 30 Hollywood Film Music of the 80’s and 90’s. Ph.D. Century Man. In: Young, Rob (ed.): No Regrets: Thesis, Stanford University 1993. Writings on Scott Walker. London: WIRE 2012, S. 262–273. Katzer, Georg: “birdie sings, music sings”. In: Wechselwirkungen. Neue Musik und Film. Hrsg. v. Kılıç, Sinem Derya: Die Musik als “des Pudels Jörn Peter Hiekel. Hofheim am Taunus: Wolke Kern”. Mascagnis Werk und Teufels Beitrag zum 2012, S. 99–104. italienischen Stummfilm Rapsodia Satanica (1917). In: Ton-Spuren aus der Alten Welt. Europäische Keith, Sarah: ‘Half of it is just the fun of finding the Filmmusik bis 1945. Hrsg. v. Ivana Rentsch und Ar- right music’: Music and the films of Adam Curtis. ne Stollberg. München: edition text + kritik 2013, S. In: Studies in Documentary Film 7,2, June 2013, pp. 125–151. 161–178. Kimber, Marian Wilson: Musical topics, historical Kepa, Sojo […]: Compositores vascos de cine. [Ála- styles and narrative in Carl Davis’s score for Pride va]: Diputación Foral de Álava [2007], 303 S. (Zine- and Prejudice (1995). In: Journal of Adaptation in mastea bilduma. 1.). Film & Performance 6,2, Sept. 2013 S. 141–155. Vascos, música y cine: a modo de introducción / Kepa Sojo – Del sinfonismo al neosinfonismo: viaje de ida y vuelta por la primera música para el audiovisual en Kivy, Peter: Music in the movies: a philosophical Euskal Herria / Josep Lluis i Falcó – Filmografías y enquiry. In: Allen, Richard / Smith, Murray (eds.): discografías de músicos vascos (1930–1990) / Josep Film Theory and Philosophy. Oxford/New York: Lluis i Falcó – Una nueva generación: músicos de ci- Oxford University Press 1999, S. 308–328. ne vascos en los últimos veinticinco años / Conrado Xalabarder – Músicos alaveses en el panorama cine- Klein, Richard: Walkürenritt in Vietnam. In: Rich- matográfico contemporáneo / José R. Gómez López ard Wagner und seine Medien. Für eine kritische de Abetxuko – Del corto al largo por medio de la mú- Praxis des Musiktheaters. Hrsg. v. Johanna Dom- sica / Fernando Velázques. bois; Richard Klein. Stuttgart: Klett-Cotta 2012, S. 394–408. Kerins, Mark: Beyond Dolby (Stereo): Cinema in Der Text untersucht die berüchtigte Szene in Francis the Digital Sound Age. Bloomington/Indianapolis: Ford Coppolas Apocalypse Now, bei der eine ameri- Indiana University Press 2010, ix, 378 S. kanische Helikopterstaffel zu den Klängen von Wag- Inhalt: Introduction ‒ Production and style. Cinemaʼs ners “Walkürenritt” ein vietnamesisches Küstendorf hidden multi-channel history and the origins of digital bombardiert. Zwei Themen spielen eine Rolle: zum surround ‒ The sound of 5.1: aural aesthetics ‒ The einen das Zusammenspiel von Bild und Musik, zum look of 5.1: visual aesthetics ‒ Decoding the digital anderen die Frage nach Ideologie und Gewalt. Coppo- surround style ‒ Using the digital surround style ‒ la arbeitet großflächig mit analogen Elementen von Analysis. Studying multi-channel soundtracks ‒ Stud- Komposition und Film, aber er ist nicht in der Lage, ying image/sound interactions ‒ Theory. Body and dies auch gemäß den eigenen Ansprüchen durchzufüh- voice ‒ Apparatus theory ‒ The real and the symbolic ren. Betont anspruchsvoll setzt er auf den “Walküren- ‒ Conclusion: media and media studies in the digital ritt” in toto und behandelt ihn doch als Potpourri. surround age. Kletschke, Irene: „Cult of inexpressiveness“. Stra- Keuchel, Susanne: Das Auge hört mit... Rezeptions- winskys Verhältnis zur Filmmusik. In: Archiv für forschung zur klassischen Musik im Spielfilm. Bonn: Musikwissenschaft 71,2, 2014, S. 135-145. ARCult-Media 2000, 298 S. (Medien-Kultur. 1.). Igor Stravinskyʼs correspondence, his own writings, Zugl.: Berlin, Techn. Univ., Diss., 1999. biographies, and catalogues raisonnes reveal that Stra- vinsky was open to the idea of composing film music Kevin, Clifton: Unravelling music in Hitchcock’s throughout his entire life. While his early composi- Rope. In: Horror Studies 4,1, April 2013, S. 63–74. tions were often used in films, none of his own projects, i.e. those based on an original score, were ever realized, whether in the silent movie era or thereafter. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 32

Instead, Stravinsky integrated compositional sketches on. Festschrift für Helmut Schanze zum 60. Geburts- for film music in other works. After Stravinsky com- tag. Hrsg. v. Sibylle Bolik, Manfred Kammer, Tho- mented enthusiastically on the possibilities of music in mas Kind u. Susanne Pütz. Frankfurt a. M./Berlin/ film in the 1930s and showed great interest in working Bern/Bruxelles/New York/Wien: Lang 1999, S. for Hollywood, he changed his tune in 1946 in an arti- 305–312. cle that leveled severe criticism against the film industry. In a reply to this article two years later, film composer David Raksin questioned several of Stravinskyʼs Kluszcynski, R.W.: Koncert filmowy. In: Iluzjon, 3 views, particularly those pertaining to musicʼs “inex- (=23), 1986, S. 40–48. pressiveness.” (Vorlage) On the relation between experimental film, music and painting. Kloppenburg, Josef: Zur Bedeutungsvermittlung von Filmmusik. In: Jahrbuch der Deutschen Gesell- Knapp, Raymond: Getting off the trolley: musicals schaft fur Musikpsychologie 3, 1986, S. 91–106. contra cinematic reality. In: From Stage to Screen: Die Identifikation der Funktion von Filmmusik wurde Musical Films in Europe and United States (1927– bei 69 Universitätsstudenten untersucht. Dazu wurde 1961). Ed. by Massimiliano Sala. Turnhout: Brepols der Anfang desFilms Spellbound von Alfred Hitch- 2012, S. 157–171. cock verwendet. In einem Fragebogen, der nach dem Film ausgefüllt wurde, wurden Fragen zur Instrumen- Koepnick, Lutz: Die Macht der Gefühle. Oper und tation, zur Struktur und zum Ausdruck der Filmmusik Filmmusik im Kino der 1970er und 1980er Jahre. In: gestellt. Die Auswertung ergab, dass Personen, die die Fernsehen und Video. Hrsg. v. Harro Segeberg. Musik als Hintergrund zum Film interpretierten, diese München/Paderborn: Fink 2011, S. 311–338 (Medi- als vage und diffus erlebten. Personen, die Zusammen- engeschichte des Films. 7.)/( Film im Zeitalter Neuer hänge zwischen Film und Musik wahrnahmen, identi- fizierten spezifische Absichten des Komponisten und Medien. 1.). erkannten Variationen in Struktur und Ausdruck. Koizumi, Kyoko: An animated partnership. Joe Hi- Kloppenburg, Josef: Das Handbuch der Filmmusik. saishiʼs musical contributions to Hayao Miyazakiʼs Geschichte ‒ Ästhetik ‒ Funktionalität. Laaber: Laa- films. In: Drawn to Sound: Animation Film Music ber-Verlag 2012, 587 S. and Sonicity. Ed. by Rebecca Coyle. London/Oak- Verlag: Die Geschichte der Filmmusik reicht von den land, CT: Equinox 2010, S. 60–74. Vorläufern und Vorbildern in der Kunst- und Popular- Die Musik von Joe Hisaishi für die Filme von Hayao musik über die Anfänge der Stummfilmzeit bis zur er- Miyazaki lässt sich in vier Richtungen einteilen: dori- staunlichen Vielfalt ihrer heutigen Formen in Holly- sche Musik für alteuropäische Stimmungen, klassi- wood und anderswo. Der vorliegende Band präsentiert sche westliche Musik für abendländische Stimmun- die enorme Bandbreite der Musik in Film und Fernse- gen, Pentatonik und andere asiatische Elemente für hen – vom Mainstream-Kino über den Videoclip bis orientale Bilder und eklektische Musik aus japani- zur Visualisierung von Kunstmusik. Die Bedeutung schen und europäischen Elementen. und die Funktionalität der Filmmusik wird anhand prägnanter Beispiele wie Iwan der Schreckliche, Der Koldau, Linda Maria: Musik zum Krieg: Klangliche Herr der sieben Meere oder auch Marienhof und Mittel zur emotionalen Steigerung in U-Boot-Fil- Fluch der Karibik anschaulich dargestellt. Eine reich- men. In: Historische Mitteilungen der Ranke-Gesell- haltige Bebilderung sowie zahlreiche Dokumente und schaft (im Auftrage der Ranke-Gesellschaft, Verei- Notenbeispiele sorgen für eine vorzügliche Visualisie- nigung für Geschichte im öffentlichen Leben e.V., rung. hrsg. v. Jürgen Elvert & Michael Salewski) 22 Rez. (Lücke, Martin) in: Die Tonkunst 7, 2013, S. 421–423. (2009) [Themenheft: “Militär, Musik und Krieg”], S. Rez. (Bandur, Markus) in: Lied und populäre Kultur 170–187. 58, 2013, S. 314–320. Koldau, Linda Maria: Of Submarines and Sharks: Kloppenburg, Josef: Klischee und Kunst. Eisenstein/ Musical Settings of a Silent Menace. In: Horror Prokofjew: Iwan der Schreckliche (1944). In: Ton- Studies 1,1, 2010, pp. 89–110. Spuren aus der Alten Welt. Europäische Filmmusik bis 1945. Hrsg. v. Ivana Rentsch und Arne Stollberg. Koldau, Linda Maria: The Titanic on Film: Myth München: edition text + kritik 2013, S. 186–200. versus Truth. Jefferson, NC: McFarland 2012, viii, 299 S. Klüppelholz, Werner: “Erst der Löffel, dann die Darin (S. 223ff.): 10. The Titanic Code: Recurrent Suppe”. Zur Analyse der Tonspur im Spielfilm. In: Motifs in Titanic Films ‒ Recurrent Motifs: History, Medienfiktionen. Illusion ‒ Inszenierung – Simulati- Myth, and Fiction ‒ Music to Drown By: Music in Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 33

the Titanic Myth ‒ The Final Song ‒ Music and Class 365. ‒ The Film Music ‒ The Sounds of Death ‒ Conclu- sion: Making Titanic Immortal. Krehl, Sebastian (2014): Musik als Genrekritik in Jean-Luc Godards Prénom Carmen. In: Rabbit Eye Koozin, Timothy: Expressive Meaning and Historic- ‒ Zeitschrift für Filmforschung, 6, S. 172–184. al Grounding in the Film Music of Fumio Hayasaka URL: . 3,1, 2010, pp. 5–17. Krohn, Tarek / Strank, Willem (Hrsg.): Film und Kopiez, Reinhard / Platz, Friedrich / Wolf, Anna: Musik als multimedialer Raum. Marburg: Schüren The overrated power of background music in televi- 2012, 240 S. (Marburger Schriften zur Medienfor- sion news magazines: A replication of Brosius’ 1990 schung.). study. In: Musicae Scientiae 17,3, Sept. 2013, pp. Ingo Lehmann / Annika Krüger: Dokumentarische 309–331. Manifestierung eines Mythos. Martin Scorseses The This study investigated the effects of background mu- Last Waltz (9–25). ‒ Guido Heldt: Die Lieder von ges- sic on cognition, evaluations of films and attitudes. tern. Filmmusik und das implizite Imperfekt (26–41). We replicated an earlier experiment by Brosius (1990) ‒ Claudia Bullerjahn: Gender-Konstruktion durch on the effects of background music on memory and Filmmusik. Eine analytische Betrachtung am Beispiel evaluations of informational films. Using the Elabora- der Vertonung von Frauenfiguren in Filmen von Al- tion Likelihood Model (ELM, see Petty & Cacioppo, fred Hitchcock und im neueren Frauenfilm (42–62). 1986) as a theoretical framework, we predicted that Christoph Henzel: «… drum sehnt sie sich nur nach music would have negative effects on the central route der Liebe – pfui Teufel!». Domestizierung durch of processing (recognition) but positive effects on the Kunst in Carl Froelichs Heimat (63–71). ‒ Knut Holt- peripheral route (evaluations, changes in attitudes) of sträter: Sentimentale Rheinfahrt Beethovens auf dem the ELM. A television report on toxic substances in Dampfer Cäcilie. Kagels Musik zum Film im Span- energy-saving lamps served as the basic stimulus. nungsfeld von Erzählfilm, Experimentalfilm und In- Five versions of the report were presented: one with strumentaltheater 7(2–84). Werner Loll: Anmerkun- no music and four additional versions with high/low gen zur Geschichte und Praxis der Stummfilmmusik. valence/arousal background music. Using a five-group Eine Einführung und Gedankensammlung (85.96). ‒ between-subjects design (with approximately 100 Silke Martin: Audiovisuelle Brüche. Zur Selbstreflexi- members in each group), stimuli were rated in an on- vität des modernen Films in Chronique d’un été line study with a representative sample of “consum- (Chronik eines Sommers) (97–110). ‒ Dieter Merlin: ers” (age range: 18–60 years). The changes in attitutes Diegetic Sound. Zur Konstituierung figureninterner toward energy-saving lamps and the overall evalua- und -externer Realitäten im Spielfilm (111–145). ‒ tions of the video were measured using pre- and post- Wolfgang Thiel: Die Hollywooder Tonfilmsympho- test questionnaires. In addition, the subjects completed nik. Studien zu Geschichte, Wesen, Gestalt und Funk- recognition tests for both the auditory and visual in- tion (146–167). ‒ Willem Strank: Die Verflechtung formation. No differences in recognition or the evalu- von Biographie und musikalischer Diegese in Clint ations were found between the conditions, and no ef- Eastwoods Bird (168–175). ‒ Claus Tieber: Musik im fects of the valence of the music (i.e., negative vs. po- Hindifilm zwischen Narration und Reflexion (176– sitive) were found. Furthermore, there was a pre-post 185). ‒ Andreas Wagenknecht: Wenn Fledermäuse shift in attitudes toward a critical evaluation of ener- Walzer tanzen. Zur inszenatorischen Verwendung von gy-saving lamps (dz = 0.85). However, this interven- Musik in dokumentarischen Formen des Fernsehens tion effect was independent of the experimental con- (186–195). ‒ Hans J. Wulff: Die Montage kultureller dition. Overall, our study found no support for the Einheiten des Wissens als poetologische Strategie in widely assumed manipulative effect of background den Filmen Ken Russells (196–214). ‒ Robert Raben- music in television news magazines. The results are alt: Filmmusik im Dokumentarfilm Die Gestaltung discussed in relation to the habituation effects of mu- von Wirkmomenten im Spannungsfeld dokumentari- sic and the perceived relevance of background music. scher und fiktionaler Erzählformen durch Musik (215– Brosius, Hans-Bernd: Commentary on the study “The 230). overrated power of background music in television news magazines: A replication of Brosius’ 1990 Kuykendall, James Brooks: William Waltonʼs film study”. In: Musicae Scientiae 17,3, Sept. 2013, pp. scores. New evidence in the autograph manuscripts. 332–333. In: Notes: Quarterly Journal of the Music Library Association 68,1, 2011, S. 9–32. Kramer, Lawrence: Classical music, virtual bodies, William Waltonʼs manuscripts are generally well- narrative film. In: The Oxford Handbook of Film preserved and well-documented. Autograph material Music Studies. Ed. by David Neumeyer. Oxford/ survives for half of his fourteen feature film projects. New York: Oxford University Press 2014, S. 351‒ These sources offer a rare glimpse behind the scenes Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 34

into the production of mid-century British cinema ‒ in Quebecʼs film industry, are in their first years of a re- particular allowing a more nuanced understanding of newed and improved approach to celebrating film mu- the film editing decisions made by Waltonʼs great col- sic and its composers. This is the result of much de- laborator Laurence Olivier, and the post-production bate – even vontroversy – in the industry, with respect role of conductor Muir Mathieson. Sketches reveal to the credibility of the awards in the “Best Music” Waltonʼs early attempts to synchronize his music to category. By studying the results of the competition action on screen, and later giving up this technique. since its inception in 1999 and in comparison with the Most surprisingly, the autographs reveal that the re- regulations and the histories of the Felix, the Genie, cent DVD release of “Battle of Britain” which pur- and especially of the Academy Awards, we will show portedly restores the discarded Walton score (actually that the recent updates to the rules of eligibility for written jointly with Malcolm Arnold) misplaces every music at the Jutras are justified, but also that they can cue. (Vorlage) still be improved upon. One objective of this paper is to better understand the concept of originality in film Lachman, Kathryn: Music and the Gendering of Co- music, as it pertains to competition in the film industry lonial Space in Karin Albouʼs Le chant des mariées. in Quebec. A second objective will be to question the In: Music, Sound, and the Moving Image 7,1, 2013, importance of recognizing, in separate categories, S. 1–18. “dramatic” orchestral film scores, original popular music and original songs. Lamberts-Piel, Christa: Filmmusik. Hrsg. v. Norbert La Motte-Haber, Helga de (Hrsg.): Neue Musik und Schläbitz. Paderborn: Schöningh 2012, 99 S. + 1 Bühne, Jazz, Populäre Musik, Filmmusik, Grenz- DVD (EinFach Musik: Unterrichtsmodell.). überschreitungen, Transmedialität. Unter Mitarb. von Hans Emons u. Elmar Budde. Laaber: Laaber- Lang, Klaus: Wilhelm Furtwängler im Briefwechsel Verlag 2011, 360 S. (Handbuch der Musik im 20. mit Wieland Wagner, Curt Riess, Walter Legge und Jahrhundert. 14: Dokumente zur Musik des 20. Jahr- Agathe von Tiedemann. Aachen: Shaker Media hunderts. Teil 2.). 2013, 304 S. Rez. (Rathert, Wolfgang) in: Positionen. Texte zur ak- Darin u.a.: Der Film. tuellen Musik 91, 2012, S. 53–54. Rez. (Röhring, Klaus) in: Musik & Kirche. Zeitschrift Langlois, Philippe: Les cloches dʼAtlantis. Musique für Kirchenmusik 81,6, 2011, S. 446. électroacoustique et cinéma; archéologie et histoire dʼun art sonore. [Paris]: MF 2012, 483 S. (Coll. Ré- Lawler, Justus G.: Converging glosses? Gibson’s percussions.). film and Beethoven’s Mass. In: Worship 78,5, 2004, Zugl.: Diss., Paris, Université Sorbonne, 2004 (u.d.T.: S. 444–453. Les procédés électroacoustiques dans les différents On Mel Gibsonʼs The Passion of Christ and Beetho- genres cinématographiques). venʼs Missa solemnis. Rez. (Verdier, David) in: Dissonance 125, 2014, S. 83. Lăzărescu, Laura: Sound Design in the American Animated Film. Berlin: wvb, Wiss. Verl., 2013, 312 Lannin, Steve (ed.): Pop Fiction: The Song in Cine- S. ma. Bristol/Chicago, IL: Intellect 2005, 173 S. Zugl.: Bukarest: National Univ. of Theatre and Film, Diss., 2012. Laudadio, Nicholas: What dreams sound like. For- Verlag: Starting from a compact history of the Ameri- bidden Planet and the electronic musical instrument. can animation film, from its early stages, evoking the In: Journal of the Fantastic in the Arts 17,4, 2007, S. classics of its Golden Age (the animations of Disney, 334–349. Warner Bros., MGM etc.) to the most recent 3D-animation films (Pixar, DreamWorks etc.), the book ana- Laudadio, Nicholas C.: All manner of revolving lyzes the technical and especially the aesthetic evolu- things. Musical technology, domestic anxiety and tion of the sound accompanying animations through The Twilight Zone’s A Piano in the House (1962). decades. The work recalls numberless examples of American animation shorts and features referring thus In: Science Fiction Film and Television 5,2, 2012, S. to a wide range of artistic means through which sound 159–177. (dialogue, sound effects, music) complement the image and contribute to creating comic effects or char- Lavoie, Mathieu: La genèse dʼune reconnaissance acterize heroes, describing at the same time the aes- réfléchie de la musique de film au Québec. Le Prix thetic approaches of the sound track in the representa- Jutra. In: Intersections: Canadian Journal of Music tion of dreams, leitmotifs, in creating counterpoints, in 30,2, 2010, S. 41–60. constructing suspense and the silence with multiple The Jutra Awards, an annual competition rewarding aesthetic values, in underlining specific animation cli- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 35

chés and geographic or cultural references. ler Rhythmus in Eisensteins Alexander Newski (1938). In: Ton-Spuren aus der Alten Welt. Europä- Lee, Michael: Music, masculinity, and masochism in ische Filmmusik bis 1945. Hrsg. v. Ivana Rentsch u. Gun Crazy. In: Rhodes, Gary D. (ed.): The Films of Arne Stollberg. München: edition text + kritik, 2013, Joseph H. Lewis. Foreword by Francis M. Nevins. S. 169–185. Detroit: Wayne State University Press 2012, S. 242– 254 (Contemporary Approaches to Film and Media Leonard, Kendra Preston: Shakespeare, Madness, Series.). and Music: Scoring Insanity in Cinematic Adapta- tions. Lanham, Md.: Scarecrow Press 2009, ix, 153 Lefèvre, Raymond: La cinéphilie chantante des S. années 30. In: CinémAction 95 [=2/2000], 2000, S. Shakespeareʼs three political tragedies–Hamlet, Mac- 149–155. beth, and King Lear–have numerously been presented or adapted on film. These three plays all involve the Lehman, Frank Martin: Reading Tonality through recurring trope of madness, which, as constructed by Film: Transformational Hermeneutics and the Mu- Shakespeare, provided a wider canvas on which to de- sic of Hollywood. Ph.D. Thesis, Cambridge, Mass.: tail those materials that could not be otherwise ex- Harvard University 2012, x, 318 S. pressed: sexual desire and expectation, political un- Dazu: Dissertation Abstracts International (DAI) rest, and, ultimately, truth, as excavated by characters 73,11, May 2013, no. DA3514439. so afflicted. Music has long been associated with mad- Film musical style and form respond strongly to a ness, and was often used as an audible symptom of a transformational approach, which adapts well to both victimʼs disassociation from their surroundings and the triadic chromaticism characteristic of Hollywoodʼs societal rules, as well as their loss of self-control. In harmonic practice and the dynamic and contingent Shakespeare, Madness, and Music: Scoring Insanity in condition of musical design inherent to the medium. Cinematic Adaptations, Kendra Preston Leonard ex- Concurrently, the analytic tools and conceptual struc- amines the use of music in Hamlet, Macbeth, and ture of neo-Riemannian theory benefit from exposure King Lear. to a fresh repertoire with different analytic needs than those of art music. In this dissertation, the author scru- Leonard, Kendra Preston: “The future is the past”. tinizes the capacity for tonality to act as a unifying and Music and history in Firefly. In: Space and Time: dramatically potent force in film. Essays on Visions of History in Science Fiction and Fantasy Television. Ed. by David C. Wright, Jr. & Lehman, Frank: Transformational analysis and the Allan W. Austin. Jefferson, NC/London: McFarland representation of genius in film music. In: Music 2010, S. 174–188. Theory Spectrum: The Journal of the Society for Music Theory 35,1, 2013, S. 1–22. Lester, Neal A.: “Let the music play”: music, mean- Neo-Riemannian theory offers an auspicious toolkit ing, and method in Oprah Winfrey Presents: Their for analyzing film music – a repertoire in which dra- eyes were watching God. Green, Tara T. (ed.): Pre- matic exigency takes precedence over functional tonal senting Oprah Winfrey, Her Films, and African logic. The ability of neo-Riemannian theory to model American Literature. New York, NY: Palgrave Mac- harmonic progressions as dynamic and contextually millan 2013, S. 127–160. determined, particularly with association-laden chromatic motions, suits it eminently to Hollywood scoring practice. This transformational approach is tested Levinson, Jerrold: Film Music and Narrative Agen- on James Hornerʼs music for the film A Beautiful cy. In: Post-Theory: Reconstructing Film Studies. Mind. In this score, Horner illustrates the mental life Ed. by David Bordwell & Noel Carroll. Madison: of the mathematician John Nash with wildly chromat- University of Wisconsin Press 1996, pp. 248–282. ic but firmly triadic music. A group generated by the Repr. in Levinsons Contemplating Art: Essays in Aes- operators L, R, and S provides the transformational thetics. Oxford: Oxford University Press 2006, S. fount for a “Genius complex” that represents intense 143–83. intellection. Three cues from A Beautiful Mind are Frz.: La musique de film. Fiction et narration. Trad. analyzed. Collectively, their tonal spaces reveal a dis- De lʼanglais (USA) par Roger Pouivet & Jean-Pierre tinctly transformational contribution to narrative and Cometti. Pau: Publications de lʼUniversite de Pau characterization. These readings further evince a ten- 1999, 72 pp. (Quad.). sion between the logical teleology of sequential pat- terning with the radically contingent, even game-like Link, Stan: Nor the Eye Filled with Seeing: The quality of Hornerʼs triadic manipulations. (Vorlage) Sound of Vision in Film. In: American Music 22,1, April 2004, S. 76–90. Lenz, Felix: Stabilität durch Subtilität. Audiovisuel- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 36

Liu, Guoyi: Die Macht der Filmmusik. Zum Ver- Revista de Musicología 28,2, 2005, S. 1051–1077. hältnis von musikalischem Ausdruck und Emotions- vermittlung im Film. Marburg: Tectum 2011, 195 S. Long, Michael: Beautiful Monsters. Imagining the (Wissenschaftliche Beiträge aus dem Tectum-Verlag Classic in Musical Media. Berkeley, Cal.: University / Reihe Psychologie. 19.). of California Press 2008, x, 311 S. (California Stud- Guoyi Liu nähert sich der Fragestellung zunächst mit ies in 20th Century Music. 10.). Hilfe von Sergej Eisensteins Film-Theorie, um diese Beautiful Monsters explores the ways in which ʽclassi- dann auf die musikalischen und filmischen Elemente calʼ music made its way into late twentieth-century in Bernardo Bertoluccis Film Der letzte Kaiser anzu- American mainstream culture - in pop songs, movie wenden. scores, and print media. Beginning in the 1960s, Mi- chael Longʼs entertaining and illuminating book sur- Lluís i Falcó, Josep: Gregorio García Segura. Histo- veys a complex cultural field and draws connections ria, testimonio y análisis de un músico de cine. Mur- between ʽclassical musicʼ (as the phrase is understood cia: Filmoteca Regional de Murcia/Editora Regional in the United States) and selected ʽmonster hitsʼ of de Murcia 1994, 206 S. (Colección Imagen. 19.). popular music. Addressing such wide-ranging subjects as surf music, Yiddish theater, Hollywood film scores, Freddie Mercury, Alfred Hitchcock, psychedelic, rap, Lluís i Falcó, Josep: Los compositores de la genera- disco, and video games, Long proposes a holistic mu- ción de la República y su relación con el cine. In: V sicology in which disparate musical elements might be Congreso de la Sociedad Española de Musicología, brought together in dynamic and humane conversa- (Barcelona, 25–28 de octubre de 2000). Ed. Begoña tion. Beautiful Monsters brilliantly considers the ways Lolo. 2. Madrid: Sociedad Española de Musicología, in which critical commonplaces like nostalgia, senti- [2002], S. 771–784. ment, triviality, and excess might be applied with greater nuance to musical media and media reception. Lluís i Falcó, Josep: Tipologías de aparición del mú- It takes into account twentieth-century mediaʼs capaci- sico en el cine y su aplicación al cine español (1930– ty to suggest visual and acoustical depth and the re- demptive possibilities that lie beyond the surface ele- 2000). In: Music in Art 27,1/2, 2002, S. 127–139. ments of filmic narrative or musical style, showing us Films have always used musical characters or musical what a truly global view of late twentieth-century mu- subject matters as a source for screenplays, thus con- sic in its manifold cultural and social contexts might figuring a challenging “icono-sphere” that includes be like. (Verlag) composers, instrumental performers, singers, and music schools. Four types of representations of musicians on the screen can be identified: they can be presented, Ma, Jean: Delayed voices: Intertextuality, music and represented, veiled, and simulated. In Spanish films, gender in The Hole. In: Journal of Chinese Cinemas these categories can be recognized in several versions 5,2, Aug. 2011, pp. 123–139. of the biography of the tenor Julián Gayarre (played The idea of delayed cinema offers a lens through by Alfredo Krauss and José Carreras), Pedro Almodo- which to explore Tsai Ming-liang’s approach to inter- varʼs Tacones lejanos (in English High Heels), and textuality. As much as intertextuality for Tsai func- musical films with the singers Sara Montiel, Julio tions in the mode of homage or a self-conscious play Iglesias, and Marisol. The 1941 biopic on Pablo de with genre conventions, it also demands to be under- Sarasate, on the other hand, is used as an example of stood as a historically meaningful gesture. This article the film genre in which the actor had to simulate virtu- looks at The Hole’s references to Grace Chang and oso playing the violin without actually playing it. post-war Mandarin popular cinema, taking up the question of why the music of Grace Chang. Is there Lluís i Falcó, Josep: Els compositors de cinema a more to the intertextual dialogue that the film estab- Catalunya (1930–1959). Barcelona: Ed. Pòrtic 2009, lishes with her songs, beyond what many commenta- 274 S. (Cineastes / Filmoteca de Catalunya. 13.). tors have framed as a relation of counterpoint or ironic contrast? The entanglement of music, femininity and an ideal of cosmopolitan modernity within the figure Lluís i Falcó, Josep: Els compositors de cinema a of the songstress opens up provocative angles on the Catalunya, 1960–1989. Barcelona: Pòrtic 2012, 292 gender and identity politics of Tsai’s work. S. (Cineastes / Filmoteca de Catalunya. 16.). Maas, Susanne: Chöre im Spielfilm: Eine Untersu- Lluís i Falcó, Josep / Gadler, Dolores: The Film chung zur Darstellung von Bildung durch Chorsin- Composer in Spain: The generation of ʼ89. In: Mu- gen im fiktionalen Film. Berlin/Münster: Lit, 2014, sic, Sound, and the Moving Image 4,2 , 2010, S. 544 S. (Schriften des Instituts für Begabungsfor- 226–235. schung in der Musik (IBFM), 6.). This article was first published in: Actas del VI Con- Zugleich: Diss., Paderborn: Universität, 2013. greso de la Sociedad Española de Musicología. = Es waren zwei der Publikumsfavoriten des Kinojahr- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 37

gangs 2004: Die Kinder des Monsieur Mathieu und Music meets film music practice. In: New Review of Wie im Himmel. Beide Filme schildern, welche Wir- Film and Television Studies 11,2, 1.6.2013, pp. 191– kungen Chorsingen auf Menschen haben kann. Sie 210. stehen damit stellvertretend für eine große Zahl von Spielfilmen, in denen Chöre eine Rolle spielen ‒ vom Marks, Martin: Film Music: The Material, Litera- Klassiker Casablanca bis zum Blockbuster Sister Act. Die Untersuchung stellt einschlägige Filme vor und ture, and Present State of Research. In: Notes, Sec- unterzieht sie einer vergleichenden Analyse. ond Series 36,2, Dec. 1975, S. 282–325.

Machin, David: Analysing Popular Music: Image, Marks, Martin Miller: Screwball Fantasia. Classical Sound and Text. London/Thousand Oaks, CA/New music in Unfaithfully Yours. In: 19th Century Music Delhi/Singapore: Sage 2010, 229 S. 34,3, 2011, S. 237–270. Darin: Ch. 8: Analysing music in film 154–184). Unfaithfully Yours, released in 1948, was the last major film to be written, produced, and directed by Pres- Macho, Thomas: Der Eselsschrei in der A-Dur-So- ton Sturges. It ranks high in importance as a late example of “screwball” comedy from the genreʼs golden nate. Robert Bresson zu Film und Musik. In: Ereig- age, and as one of the funniest features about classical nis und Exegese. Musikalische Interpretation ‒ In- music ever made. The story centers on Sir Alfred de terpretation der Musik. Festschrift für Hermann Da- Carter, an idiosyncratic British conductor (modeled on nuser zum 65. Geburtstag. [Hrsg. v.] Camilla Bork, Sir Thomas Beecham, as played by Rex Harrison), Tobias Robert Klein, Burkhard Meischein, Andreas who suddenly becomes suspicious of his wifeʼs infi- Meyer u. Tobias Plebuch. Schliengen: Ed. Argus delity. Jealous to the point of madness, he conducts a 2011, S. 203–213. concert of three nineteenth-century works: Rossiniʼs overture to “Semiramide” (1823), Wagnerʼs overture Magni, Daniele: Cuori matti. Dizionario dei musica- to “Tannhäuser” (1845), and Tchaikovskyʼs tone relli italiani anni ʼ60. In collaborazione con Mauri- poem “Francesca da Rimini” (1877), and while doing so the film shows us his imagined fantasy scenarios as zio Maiotti e con la partecipazione di Manuel Cave- inspired by the music. Placed within a soundtrack naghi, Fulvio Fulvi. Prefazione di Ruggero Deodato. richly filled with voices and effects (often hilariously Milano: Bloodbuster 2012, 225 S. distorted), the film takes each concert work from ob- Auch: Bloodbuster. Tutto il cinema della B alla Zeta. jective foreground to ambiguous background status = Jamboree (URL: ). and back again, then deconstructs the three in more cartoonish ways during the final half hour. With ref- Maier, Thomas M.: Nur Natur? Bemerkungen zu erence to studio source materials, to the original signi- den Soundtracks aktueller Naturfilme. In: Neue Zeit- ficance of each concert work, and to earlier and later schrift für Musik 173,4, 2012, S. 62–64. films using classical music, the article presents a read- Allzu oft verweilen die Soundtracks aktueller Naturfil- ing of the filmʼs meanings and shows how it took up me geradezu zwanghaft im Bereich konventioneller ci- the argument about the role of classical music within neastischer Filmmusik-Dramaturgie. Die neuen film- Americaʼs democratic culture. (Vorlage) musikalischen Möglichkeiten, die sich durch die aus- schließliche Naturdarstellung im Bild ergeben, werden Marks, Martin: Saint-Saëns and silent film, sound viel zu selten wahrgenommen. Die Befreiung des Bil- film and Saint-Saëns. In: Pasler, Jann: Camille des von menschlichen Protagonisten wurde analog in Saint-Saëns and His World. Princeton: Princeton der Musik noch nicht vollzogen. Sonst wäre der Ein- University Press 2012, S. 357–369. satz von neuen Klängen und Kompositionstechniken, die nicht den subjektiven Ausdruck zum Ziel haben, Martin, Adrian: Lessons of noise and silence. Avant- viel weiter verbreitet. Das ist schade, denn nur mit einer solchen Filmmusik wäre ein wirklich neuer und garde cinema and experimental music in Australia. unverstellterer Blick auf die gezeigte Natur möglich. In: Studies in Australian Cinema 1,2, 2007, S. 223– (Vorlage) 234.

Mancini, Henry, with Gene Lees: Did They Mention Martin, Bill: Ayn Rand and the Music of Rush: the Music? Chicago: Contemporary Books 1989, Rhapsodic Reflections. In: The Journal of Ayn Rand xix, 252 S. Studies 5,1, Fall 2003, S. 189–213. Updated with a new postscript, New York: Cooper Martin replies to Sciabarraʼs essay on Rand, Rush, and Square Press 2001, xix, 255 S. progressive rock with critical reflections from a Marx- Autobiographie von Henry Mancini. ist perspective. Focusing on the film version of The Fountainhead, which shares much in common with Mark, Minett: Beyond the badass: Electronic Dance film noir and Socialist Realism, Martin rejects as reifi- cation Randʼs emphasis on property as the defining Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 38

feature of human life. Her dismissal of rock music has In: The Oxford Handbook of Film Music Studies. Ed. overtones of racism and Eurocentrism. The rock band by David Neumeyer. Oxford/New York: Oxford Rush may have drawn inspiration from Howard University Press 2014, S. 245-269. Roark, but two other real-life role models would have been better suited: Ludwig van Beethoven and Frank McGee, Kristin: Orientalism and Erotic Multicultu- Lloyd Wright. ralism in Popular Culture: From Princess Rajah to the Pussycat Dolls. In: Music, Sound, and the Mov- Martin, Ruth Lee: Framing Ambiguity and Desire ing Image 6,2, 2012, S. 209–238. through Musical Means in Sally Potterʼs Film Or- Saidʼs groundbreaking monograph Orientalism (1978) lando. In: Music, Sound, and the Moving Image 5,1, inspired critical reflection of ‚Orientalist‘ discourses Spring 2011, S. 25–37. contained within dominant Western literature. In this Sally Potterʼs film Orlando (based on Virginia article, I extend this impulse by illustrating connec- Woolfʼs 1928 book of the same name) is a rather curi- tions between early twentieth-century erotic and exotic ous tale based on a mixture of biography and fiction representations of a ‚feminised Orient‘ and contempo- about sexual ambiguity and identity. The film has rary hyper-mediated negotiations of sex and gender in been the subject of much feminist criticism for the audiovisual texts. My methodological approach un- manner in which it departs from the main theme of the covers the musical, kinetic, visual, and aesthetic signi- original story. Woolfʼs final message in her book is fiers that contribute culturally to a broader symbolic that the status quo in regards to the treatment of wo- configuration of subjectivities in the modern and post- men continues ever onwards, while Potterʼs message modern eras. As case studies, I compare two visually in her film ‒ that we have reached a stage where we mediated, gendered performances: Princess Rajahʼs can transcend constructions of gender ‒ seems, at first early twentieth-century belly dancing film (1904) and glance, superficial. Potter not only directed the film the music video Buttons (2006) by this centuryʼs lead- but also wrote the music for it, and an analysis of this ing music-television `girl grouṕ, the Pussycat Dolls. music (that runs throughout much of the film) demon- To differentiate between prior colonial articulations of strates that the case against Potter, and the grounds for difference, my analyses foreground the recent exploi- such criticism, may not be clear-cut at all. This article tation by the music industry of what I call `erotic mul- shows how the music reveals a deeper, more profound ticulturalisḿ; a concept which betrays an accelerated message at the heart of the film that is as ambiguous surplus value derived from references to subaltern as Orlando him- (or is it her-?) self. subjects within late-capitalist cultures of consumption. My examination of Orientalist starsʼ online reception McDonald, Keiko: Dream, song and symbol: more constitutes an additional contribution to new analytical about Drunken Angel. In: Post Script: Essays in strategies. Ultimately, I aim to ameliorate the imbal- Film and the Humanities 20,1, 2000, S. 23–33. ance of Orientalist studies which prioritise male crea- Auch in: McDonald, Keiko I.: Reading a Japanese tivity, by considering symbolic female Orientalist per- film. Cinema in context. Honolulu: University of Ha- formers who both innovate and `Otheŕ through their waii Press 2006. adaptation and exploitation of new technologies in popular culture contexts. MacDonald, Laurence E.: The Invisible Art of Film Music: A Comprehensive History. 2nd ed., Lanham, McGraw, Andrew Clay / Suriyanti Azmi, Azti Ne- MD/Plymouth: Scarecrow Press 2013, xvii, 605 S. zia: Music and Meaning in the Independence-Era Zuerst 1991. Neued. 1998. Malaysian Films of P. Ramlee. In: Asian Cinema Traces the history of film music from its genesis 20,1, March 2009, pp. 35–59. through 1997. The author focuses on the top film scores of each year, discussing the films themselves, McMahon, Orlene Denice: Listening to the French how the scores came to be written, and the type of mu- New Wave: The Film Music and Composers of Post- sic the films contain. The book also includes biograph- war French Art Cinema. Oxford/Bern/Berlin/Bru- ical sketches of nearly forty of the most prominent xelles/Frankfurt am Main/New York/Wien: Lang composers of film music. 2014, xiv, 295 S. (New Studies in European Cinema. 16.). Macdonald, Nicholas: In Search of La grande illu- As perhaps the most studied film movement in cine- sion: A Critical Appreciation of Jean Renoirʼs Elu- matic history, the French New Wave has been analys- sive Masterpiece. Jefferson, NC: McFarland [2014], ed and criticised, romanticised and mythologised, rais- x, 258 S. ing the question of whether it is possible to write any- Darin: 22. Film as Film ‒ And the Music Within [S. thing new about this period. Yet the study of music in 198–212]. New Wave films is a striking gap in the scholarship. Listening to the French New Wave offers the first de- McDonnell, Cari: Genre theory and the film musical. tailed study of the music and composers of French New Wave cinema, arguing for the need to re-hear Bibliographie der Filmmusik. 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and thus reassess this important period in film history. Meyer, Thomas: Dürfen wir heimkehren? Eine Combining an ethnographic approach with textual and Sammlung von Liedszenen. In: Dissonance: Schwei- score-based analysis, the author challenges the idea of zer Musikzeitschrift für Forschung und Kreation the New Wave as revolutionary in all its facets by re- 127, 2014, S. 4-12. vealing traditional approaches to music in many ca- Wann erscheinen Lieder in Filmen? Warum erklingen nonical New Wave films. However, musical innova- sie in Instrumentalwerken häufig gegen Schluss? Was tion does have its place in the New Wave, particularly bedeutet es, in gewissen Situationen ein Lied zu sin- in the films of the marginalised Left Bank group. The gen? Gibt es eine Rettung im/ins Lied? Der Aufsatz author ultimately brings to light those few collabora- präsentiert eine Sammlung ausgewählter “Liedszenen” tions that engaged with the ideology of adopting con- und versucht eine Auslegeordnung. temporary music practices for a contemporary medium. Miceli, Sergio: Musica per film. Storia, estetica, analisi, tipologie. [Lucca]: LIM / [Milano]: Ricordi McNelis, Tim / Boschi, Elena: Seen and heard: visi- 2009, 1025 S. (Le sfere. Collana di studi musicali. ble playback technology in film. In: García Quiño- 49.). nes, Marta / Kassabian, Anahid / Boschi, Elena Engl.: Film Music: History, Aesthetic-Analysis, Typol- (eds.): Ubiquitous Musics: The Everyday Sounds ogies. Ed. & transl. by Marco Alunno, Braunwin Shel- That We Donʼt Always Notice. Farnham, Surrey/ drick. [Milan]: Ricordi / [Lucca]: LIM 2013, xxxvii, Burlington, VT: Ashgate [2013], S. 89–106 (Ash- 835 S. gate Popular and Folk Music Series.). Miceli, Sergio: Fascist ideology in film music of the McQueen, Amanda: ‘Bring the Noise!’ Sonic Inten- Squadrone bianco by Antonio Veretti (1936). In: sified Continuity in the Films of Edgar Wright. In: Musik-Kontexte 1, 2011, S. 568–576. Music, Sound, and the Moving Image 7,2, 2013, S. 141–166. Miceli, Sergio: WYSIWYG (What you see is what you get): movie musical, film musicale, film di argo- McQuinn, Julie: Strange recognitions and endless mento musicale ; è necessario distinguere. In: From loops. Music, media, and memory in Terry Gilliamʼs Stage to Screen: Musical Films in Europe and 12 monkeys. In: The Oxford Handbook of Film Mu- United States (1927–1961). Ed. by Massimiliano Sa- sic Studies. Ed. by David Neumeyer. Oxford/New la. Turnhout: Brepols 2012, S. 185–195. York: Oxford University Press 2014, S. 445-467 Miklitsch, Robert: Siren City: Sound and Source McQuiston, Kate: Value, violence, and music recog- Music in Classic American Noir. New Brunswick, nized. A Clockwork Orange as musicology. In: Stan- NJ/London: Rutgers University Press 2011, xxii, ley Kubrick: Essays on His Films and Legacy. Ed. 288 S. by Gary D. Rhodes. Jefferson, NC/London: McFar- Siren City engagingly illustrates how sound tracks in land 2008, S. 105–122. 1940s film noir are often just as compelling as the genreʼs vaunted graphics. Focusing on a wide range of McQuiston, Kate: Weʼll Meet Again: Musical De- celebrated and less well known films and offering an sign in the Films of Stanley Kubrick. Oxford/New introductory discussion of film sound, it resonates York: Oxford University Press 2013, xiv, 235 S. with the sounds and source music of classic American (The Oxford Music/Media Series.). noir-gunshots and sirens, swing riffs and canaries. Along with the proverbial private eye and femme fa- tale, these audiovisuals are central to the noir aesthetic MacRory, P.: Excusing the violence of Hollywood and one important reason the genre reverberates with women: Music in Nikita and Point of No Return. In: audiences around the world. Screen 401, 1999, S. 51–65. Inhalt: Introduction: Sound and (Source) Music; Pro- logue: Small World, Big Sign; 1. House Sound: Re- Meigh-Andrews, Chris: A History of Video Art. 2nd verb, Offscreen Sound, and Voice-Over Narration in ed., New York: Bloomsbury 2014, 387 S. Early RKO Noir; 2. Sonic Effects: Sound and Fury in Darin: 5. Musique Concrète, Fluxus and Tape Loops: Forties Noir; 3. Audio Technologies: Intercoms and The Influence and Impact of Sound Recording and Ex- Dictaphones, Telephones and Radios, Phonographs perimental Music on Video Art. and Jukeboxes; 4. Blues in the Night: Popular and Classical Instrumental Source Music; 5. Singing De- Mera, Miguel: Outing the Score. Music, Narrative, tectives and Bluesmen, Black Jazzwomen and Torch and Collaborative Process in Little Ashes. In: Music, Singers; 6. The Big Number (Side B): Killing Them Softly; 7. The Big Number (A Side): Siren City; Epi- Sound, and the Moving Image 6,1, 2012, S. 93–110. logue: Silences. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 40

Rev. (James A. Wren) in: Alphaville, 3, 2012, URL: service of a wide range of nuanced functions. . Mitry, Jean: Musique et cinéma. In: Revue dʼEsthé- tique, 26, April-Dez. 1973, S. 311–328. Milano, Paolo: Music in the Film: Notes for a Mor- phology. In: The Journal of Aesthetics and Art Crit- Moormann, Peter: Von der Filmmusik zur Konzert- icism 1,1, 1941, pp. 89–94. suite. Semantische Verschiebungen in Sergej Pro- Milano states that “no one will deny that sound and kofjews Kompositionen zu Leutnant Kishe. In: Ar- image are two different media of expression”; he goes chiv für Musikwissenschaft 69,1, 2012, S. 42–50. on to say there are three types of aesthetic relations Sergei Prokofievʼs varied oeuvre includes eight com- between sound and image: “dominant visuals,” “do- positions for film, whereby his work with director Ser- minant aurals,” and “equal collaboration”. There are gei Eisenstein has for a considerable time claimed the also different types of music: “neutral,” “casual,” center of attention in film studies and musicology. His “music as rhythmic comment,” “illustrative music,” early film music, on the other hand, is still almost en- and “music as psychological comment”. In all of these tirely unknown. This article focuses on Prokofievʼs different types, “the film’s theme has determined the first film score, which was composed in 1933 for the visuals and the score is planned only for their adorn- monarchical satire, Lieutenant Kijé. The relationship ment”. Sometimes the music and film do not relate to between the pictoral sequence and music and how they one another. Milano uses the example of a fight scene together convey the satiric elements of the plot will be while peaceful music plays. Another type of music examined. Thereafter the focus turns to the structural discussed later in the essay is “counterpoint” which and semantic transformations that arose in the concert would show as a “sleeping face and the wild music of suite Prokofiev adapted from the film score in 1934. a nightmare”. After discussing different types of mu- (Vorlage) sic, Milano breaks down the different types of images: “images of psychological comment,” “illustrative images,” “images as rhythmic comment,” “casual Moormann, Peter: Musik und Geräusch im frühen images,” and “neutral images”. Tonfilm. In: Ton-Spuren aus der Alten Welt. Euro- päische Filmmusik bis 1945. Hrsg. v. Ivana Rentsch Miller, Terry E. / Shahriari, Andrew: World Music: und Arne Stollberg. München: edition text + kritik A Global Journey. 3rd ed., New York: Routledge 2013, S. 55–65. 2012, xxv, 589 S. Darin: Indian Filmi Git (Film Song) [S. 121]. Moreira Macedo de Carvalho, Ludmila: Memories of sound and light: musical discourse in the films of Minetta, Mark: Beyond the badass: Electronic Dance Wong Kar-wai. In: Journal of Chinese Cinemas 2,3, Music meets film music practice. In: New Review of Nov. 2008, pp. 197–210. Film and Television Studies 11,2, June 2013, S. 191–210. Morelli, Giovanni: Prima la musica, poi il cinema. Perhaps the most recent resource made available to Quasi una sonata: Bresson, Kubrick, Fellini, Gaàl. film music is the popular musical idiom and practice Venezia: Marsilio 2011, 123 S. (Saggi.). known as Electronic Dance Music (EDM). Three ty- Inhalt: 11–46: “Cinema Diderot, già Fratelli Lumière”. pical categories of interaction and influence can be Osservazioni preliminari a un esercizio di ripristino traced out: non-EDM practitioner film composers who delle/della pluralità delle/nelle Storie del cinema: il make use of the EDM idiom in their scores, the EDM cinema del Settecento. ‒ 47–86: II postiglione Cronos practitioner as composer, and the use of pre-existing Barry Lyndon e ancora il “cinema del Settecento”. ‒ EDM tracks. Little scholarly attention has been given 87–100: Cantilenae A proposito di un “corto” di Zan- to an analysis of the way these three categories of zotto e Fellini [o Fellini e Zanzotto]. ‒ 101–120: Che EDM interaction play out in films, particularly in farem senza Euridice? terms of the formal construction of the music and the diverse functions they serve in the film. Relying on Morricone, Ennio / Miceli, Sergio: Composing for close formal analysis of multiple films and the work of the Cinema: The Theory and Praxis of Music in music theorist Mark J. Butler, this paper identifies a Film. Transl. by Gillian B Anderson […]. Lanham, key set of EDM practices incorporated into film music MD/Plymouth, UK: Scarecrow Press 2013, xiv, 295 practice: sampling, beat manipulation, and layering and looping. This paper also argues that the use of S. EDM goes beyond simply signaling excitement or connoting ‘the badass’. Instead, EDM practices have Morris, Mitchell: The order of sanctity. Sound, sight, been combined in numerous permutations and placed and suasion in The Ten Commandments. In: The Ox- into multiple and distinct relationships with other as- ford Handbook of Film Music Studies. Ed. by David pects of filmsʼ soundtracks and visual tracks, in the Neumeyer. Oxford/New York: Oxford University Bibliographie der Filmmusik. 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Press 2014, S. 424-444. schen Werke (Mahagonny, Dreigroschenoper, Royal Palace und Der Zar lässt sich photographieren). Moschini, Ilaria: Music and Series: The Verbalizing (Verlag) Role of Soundtrack Lyrics from TV Series to User- generated Narrations. In: Visual Communication 10, Mücke, Panja: Vielschichtige Offerten: Eduard Kün- 2, May 2011, S. 193–208. nekes Filmkompositionen im Dritten Reich. In: Mu- In 1984, the creators of Miami Vice ‒ a famous NBC sik im Unterhaltungskino des Dritten Reichs. Hrsg. detective drama ‒ added pop and rock hits to the ori- v. Christoph Henzel. Würzburg: Königshausen & ginal themes of the soundtrack. This new use of mu- Neumann 2011, S. 141–153. sic, later defined as `MTV-inspiredd , has progressively increased in the last 10 years and has now become one Mücke, Panja: “Wir werden alle ‚Milliardäre‘”. of the widely accepted standards for music and image Strauss, die Medienkonkurrenz und der Rosenkava- integration in US TV series and movies. Recently, it lier-Film (1926). In: Musiktheorie 27, 2012, S. 229– has also been fully exploited by users of social net- 246. working platforms in creating their own contents. In this article, the author examines how lyrics are used to `desigń meaning in both TV series and user-generated Mücke, Panja: “Trennung der Elemente” ‒ Eislers narrations, by applying the methodological framework Musik zu Kuhle Wampe (1932) im Umfeld avancier- of multimodality outlined by Kress, Van Leeuwen and ter Kompositionskonzepte. In: Ton-Spuren aus der Jewitt and, in particular, the system network of semi- Alten Welt. Europäische Filmmusik bis 1945. Hrsg. otic resources of sound elaborated by Van Leeuwen. v. Ivana Rentsch u. Arne Stollberg. München: Ed. Text + Kritik 2013, S. 230–247. Mücke, Panja: “Bei der Verbindung mit der filmischen Darstellung erlangt die Musik zuweilen eine Murphy, Scott: Transformational theory and the neue Bedeutung”. Sostakovics Musik zum Film Od- analysis of film music. In: The Oxford Handbook of na op. 26 (1931). In: Kritik des Ästhetischen ‒ Äs- Film Music Studies. Ed. by David Neumeyer. Ox- thetik der Kritik. Festschrift für Karl Prümm zum 65. ford/New York: Oxford University Press 2014, S. Geburtstag. Hrsg. v. Andreas Kirchner, Astrid Pohl 471–499. und Peter Riedel. Marburg: Schüren 2010, S. 315– 327. Nannicelli, Ted: Instructions and Artworks: Musical Scores, Theatrical Scripts, Architectural Plans, and Mücke, Panja: Musikalischer Film ‒ musikalisches Screenplays. In: British Journal of Aesthetics 51,4, Theater. Medienwechsel und szenische Collage bei Oct. 2011, S. 399–414. Kurt Weill. Münster/New York, NY: Waxmann This essay offers an account of the relationship be- 2011, 262 S. (Veröffentlichungen der Kurt-Weill- tween screenplay and film, and it does so by compar- Gesellschaft Dessau. 7.). ing this relationship to the relationships that hold be- Zugl.: Marburg, Univ., Habil.-Schr., 2008. tween other sets of instructions and artworks: score Im ersten Drittel des 20. Jahrhunderts manifestiert and musical work, theatrical script and theatrical sich die Konkurrenz zwischen den neuen audiovisuel- work, architectural plan and architectural work. I ar- len Medien Rundfunk und Film sowie den etablierten gue that musical scores and theatrical scripts are work- Medien Buch, Sprech- und Musiktheater u.a. im determinative documents ‒ manuscripts whose exis- künstlerischen Austausch zwischen den verschiedenen tence entails the existence of musical works and the- Formen. In dieser Zeit wird eine große Menge an Lite- atrical works, respectively, and which determine the ratur-, Theater- und Opernverfilmungen produziert, es facts about what those works are like. On the contrary, entsteht die Gattung der Funkoper und man realisiert I argue that architectural plans and screenplays are not medienkombinatorische Bühnenstücke mit integrier- work-determinative because they alone do not entail ten Lichtbild- und Filmprojektionen, Grammophon- the existence of any architectural work or film. Never- und Rundfunk-Passagen. Kurt Weill ist der wichtigste theless, I conclude that this difference has no bearing Träger eines kompositorischen Anspruchs, der seine upon art status: theatrical scripts are almost always Innovativität vor allem aus einer Hinwendung zum artworks in their own right, musical scores almost ne- Publikum, zur Anti-Illusion, Modernität im Sujet und ver are, and architectural plans are in certain cases. Medialisierung ableitet. Weills Kompositionen wer- This conclusion suggests that although the relationship den in dieser Studie als Teil des publizistischen und between theatrical script and theatrical work is quite künstlerischen Diskurses über das neuartige mediale different from that between screenplay and film, there Spannungsverhältnis der 1920er und 1930er Jahre is no reason to think that screenplays cannot be litera- untersucht. Im Zentrum stehen die Adaption von Mu- ry artworks in their own right. sikalischem Theater für den frühen Tonfilm (Verfil- mung der Dreigroschenoper) und die mediensyntheti- Nauck, Gisela (Hrsg./Red.): Film, Video, Sensorik. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 42

[Berlin]: [Verlag Positionen] 2012, 68 S. (= Positio- Massenveranstaltungen, der Etablierung eines einzig- nen. 91, 2012.). artigen Starkults und natürlich dem allgegenwärtigen Schlager. Ganz am Ende steht die Erkenntnis: Mit Neumeyer, David (ed.): The Oxford Handbook of Musik geht vieles besser ‒ auch die Vermittlung von Film Music Studies. Oxford/New York: Oxford Uni- Nazi-Propaganda. versity Press 2014, x, 683 S. Nitta, Takayuki: Jean Grémillon, le musicien-ciné- Explores the history and evolution of film music studies from the silent film to the sound film era. It exa- aste: ʽRemorquesʼ. In: Bigaku: The Japanese Jour- mines the relevance of various theories, including on- nal of Aesthetics 62,2, Winter 2011, S. 25–36. tological, feminist, queer, critical and apparatus theories, in film studies and analyzes the influence of the- Noeske, Nina: Filmmusikalische Experimente zwi- ater or opera music on the development of film sound- schen Bild und Ton, oder: Der betrunkene Klavier- track. It also discusses the history of video game mu- spieler. In: Experimente in den Künsten: transmedia- sic and presents two case studies involving the analy- le Erkundungen in Literatur, Theater, Film, Musik sis of the musical scores for Cecil B. DeMille’s The und bildender Kunst. Hrsg. v. Stefanie Kreuzer. Bie- Ten Commandments and Terry Gilliam’s 12 Monkeys lefeld: Transcript, 2012, S. 287–304 (Kultur- und [Verlag]. Medientheorie.). Inhalt: Overview ‒ Music and the ontology of the sound film ‒ Opera and film ‒ Visual representation of film sound as analytical tool ‒ Film music from the Noeske, Nina: Gläserne Harmonien hinter dem Ei- perspective of cognitive science ‒ Composing for film sernen Vorhang. In: Postmoderne hinter dem Eiser- ‒ Ontological, formal, and critical theories of film mu- nen Vorhang. Werk und Rezeption Alfred Schnittkes sic and sound ‒ Drawing a new narrative for cartoon im Kontext ost- und mitteleuropäischer Musikdiskur- music ‒ Genre theory and the film musical ‒ The se. Hrsg. v. Amrei Flechsig und Stefan Weiss. Hil- tunes they are a-changing ‒ The compilation sound- desheim/New York: Olms 2013, S. 77–92. track from the 1960s to the present ‒ The origins of musical style in video games, 1977–1983 ‒ Classical OʼBrien, Wesley J.: Music in American Combat music, virtual bodies, narrative film ‒ Gender, sexua- Films: A Critical Study. Jefferson, NC: McFarland lity, and the soundtrack ‒ Psychoanalysis, apparatus theory, and subjectivity ‒ Case studies–introduction ‒ 2012, v, 190 S. Case study 1, The order of sanctity ‒ Case study 2, Inhalt: Scoring the classical combat film and conven- Strange recognitions and endless loops ‒ Transforma- tions of the war film protagonist: the story of G.I. Joe tional theory and the analysis of film music ‒ Listen- ‒ The Vietnam conflict scored as a conventional war ing in film ‒ Auteurship and agency in television mu- film: John Wayne plays John Wayne in the Green Be- sic ‒ When the music surges ‒ Audio-visual palimp- rets ‒ The ambivalent hero: major heroic malfunction sests ‒ Performance practices and music in early cine- in Full Metal Jacket ‒ Vietnam redux: scoring the ma outside hollywood ‒ Performing prestige. conflicted (post-9/11) hero in We Were Soldiers ‒ He- roes without a cause: scoring practice and the devolu- tion of combat film heroism in the wake of Vietnam ‒ Neumeyer, David / Platte, Nathan: Franz Waxmanʼs Re-presenting “the good war” ‒ Comparing classical “Rebecca”: A Film Score Guide. Lanham, MD/Ply- and current scoring practices. mouth, UK: Scarecrow Press 2012, xvii, 217 S. (Scarecrow Film Sore Guides. 12.). Oberhaus, Lars: Jazz erzählt ‒ Narrativität zwischen Konstruktion und Improvisation in Jazzfilmmusik Nguyen, Binh: Mit Musik geht alles besser. Strate- der 1950er Jahre. In: Erzählen im Film: Unzuverläs- gien psychischer Einflussnahme über die Musik in sigkeit ‒ Audiovisualität ‒ Musik. Hrsg. v. Susanne den propagandistischen Unterhaltungsfilmen des Kaul, Jean-Pierre Palmier & Timo Skrandies. Biele- Dritten Reichs und Hollywoods. Marburg: Tectum feld: transcript 2009, S. 205–222 (Medienkulturana- 2010, 328 S. lyse.). Zuerst: Zugl.: Halle (Saale), Univ., Diss., 2009. [Verlag:] ...wie genau wird Musik zu einem Bestand- Osteen, Mark: Nightmare Alley: Film Noir and the teil der Filmpropaganda? Welche Inhalte vermitteln die Filme mit Hilfe ihrer Musik? Bediente sich der American Dream. Baltimore: Johns Hopkins Univer- Hollywood-Film ähnlicher Mittel? Binh Nguyen versity Press 2013, viii, 324 S. gleicht heutige Erkenntnisse über die Wirkung von Darin: Nocturnes in black and blue: memory, morality Musik mit damaligen Quellen und den Thesen von and jazz melody [S. 154–184]. Joseph Goebbels und Adolf Hitler. Hinzu kommen Analysen von Faktoren, die die Propagandawirkung Östlind, Götz: Kontrapunktik in der Filmmusik. Die im Dritten Reich unterstützten: beginnend beim po- Auswirkungen einer kontrapunktierenden Filmmusik pulären Radio, über die Wochenschauen bis zu den in Actionszenen originaler Spielfilme auf die Rezep- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 43 tionsprozesse. Diss., Universität Lüneburg 2005. Musikterminologie in der romanischen Lexikogra- URL: . Tonhöhe – eine diachrone Analyse / Anke Grutschus ‒ Die Arbeit untersucht, ob die Wahrnehmung einer Zur Konfliktualität von Nationalhymnentexten als kol- Filmszene verändert wird, wenn eine kontrapunktie- lektiven Identifikationssymbolen: Frankreich, Spanien rende Musik oder eine Actionmusik erklingt. Als und Katalonien im Vergleich / Carlos Collado Seidel ‒ Orientierung diente die musikfreie Originalfassung Zwischen Lorbeer und Scheiterhaufen. Zur Inszenie- der Actionsszene. Am Beispiel von Szenen aus Gla- rung von Sterbe-und Todesszenen in der politischen diator, Titanic und Dreamcatcher wurde anhand von Oper Italiens / Annette Frank ‒ Frauenbilder in popu- 1212 Studenten festgestellt, dass die visuelle Ebene zu lärer Musik der Karibik – Zwischen Verehrung und dominierend ist, und die Versuchspersonen unabhän- Verachtung / Kristina Bedijs ‒ Wer «azzurro» singt, gig von der musikalischen Untermalung stets ähnliche meint nicht einfach blau: Überlegungen zur Farbse- Urteile abgaben. Die Wahrnehmung der Filmszene mantik im italienischen Lied / Christoph Oliver Mayer wird nicht durch die o.a. Musiken verändert. ‒ Von der Lyra zur Lyrik und zurück. Eine kleine Ge- schichte der wechselseitigen Durchdringung von Overbeck, Anja / Heinz, Matthias (Hrsg.): Spra- Dichtung und Musik / Roland Ißler ‒ Du texte musical che(n) und Musik. Akten der gleichnamigen Sektion au texte littéraire: Le Contrebandier. Histoire lyrique par George Sand / Marie Hélène Rybicki ‒ Musik als auf dem XXXI. Romanistentag (Bonn, 27.09.‒01.10. Vorbild und Rivale. Zur Poetik des musikliterarischen 2009). München: LINCOM Europa 2012, 306 S. «Dazwischen» in Stéphane Mallarmés musique du (LINCOM Studies in Romance Linguistics. 72.). silence / Wiebke Dehn ‒ Le chant littéraire. Translato- Sprache und Musik fordern als Zeichensysteme mit rische und intermediale Herausforderungen im Ulys- vielfachen Bezügen aufeinander einen pluri- und inter- ses / Vera Schanz. disziplinären Forschungszugang geradezu heraus. Die Akten zur Sektion «Musik und Sprache(n)» des Paci, Viva: La comédie musicale et la double vie du XXXI. Romanistentages in Bonn entsprechen dem – ganz im Sinne der von Anfang an «transversalen» cinéma. Lyon: Aleas / Udine: Forum 2011, 206 S. Ausrichtung des Tagungsprogramms. In insgesamt 18 (Cinethesis. 1.). Beiträgen zeigt sich eine breite thematische Auffäche- Inhalt: La narration chancelle (sur le modèle de la des- rung, die wichtige aktuelle Forschungsfragen spiegelt: cription) // Entre description et chorégraphie (où il est Mehrere primär linguistisch und teils empirisch orien- question de communication, de style et de temps) // La tierte Beiträge rezipieren etwa die besonders in (Mu- comédie musicale (une histoire classique dʼattrac- sik-) Semiotik und Kognitionswissenschaft rege For- tion) // Au fil du temps (au goût du jour) // Ruptures schung zum Interagieren beider Ausdrucksformen. In médiatiques (et nouveautés en musique). weiteren Beiträgen werden einerseits übergreifende Themen der europäischen Sprach-, Musik- und Kul- Pacun, David: Paths between the spiritual and the turgeschichte mit Anwendungsbeispielen kombiniert, real. On the intersection of musical style, symmetry, andererseits Parallelen literarischer und musikalischer and cycle in Kenji Mizoguchi’s Ugetsu (1953). In: Ausdrucksformen in Autoren-, Werk- und Gattungs- The Journal of Film Music 3,1, 2010, S. 19–36. perspektive diskutiert. Dadurch werden Schnittstellen und Schnittmengen zwischen den Einzeldisziplinen Papadimitriou, Lydia: Music, Dance and Cultural sichtbar gemacht und transdisziplinäre Erschließungs- Identity in the Greek Film Musical. In: Papadimitri- mechanismen für die Phänomenbereiche Sprache und Musik herausgearbeitet. ou, Lydia / Tzioumakis, Yannis (eds.): Greek Cine- Inhalt: Vorwort / Matthias Heinz / Anja Overbeck ‒ ma: Texts, Histories, Identities. Bristol: Intellect Sprache und Musik: Zeichentypen und ihre Konse- 2012, S. 147–166. quenzen / Manfred Bierwisch ‒ Über die Singbarkeit der Sprachen / Harro Stammerjohann ‒ Sprache und Parsons, James: ʽThe Exileʼs Intellectual Missionʼ: Musik: Zur Analyse gesungener Sprachen anhand von Adorno and Eislerʼs Composing for the Films. In: Opernarien / Elmar Schafroth ‒ Guglielmo Tell und Telos: A Quarterly Journal of Critical Thought, 149, Les Noces du Figaro: Einzelsprachliche Prosodie und Winter 2009, S. 52–68. Textvertonung in der italienischen und französischen Oper / Christoph Gabriel ‒ Zur Pragmatik der affek- Passman, Donald S.: All You Need to Know about tiv-prosodischen Markierungen im fado de Lisboa / Steffen Thomas Buch ‒ Sprachliche Alternanzen in the Music Business. 8th ed., New York: Free Press Liedtexten / Christina Märzhäuser ‒ Überlegungen zur 2012, xxiv, 480 S. diskursiven Repräsentation des Französischen in Ka- Darin: viii. Motion picture music (S. 413ff.): ‒ 27. nada am Beispiel von Texten frankophonen Raps aus Overview of motion picture music: ‒ Introduction ‒ Québec / Julia Kuhn ‒ Tra musicologia, linguistica dei One song, eight deals ‒ The rights involved ‒ 28. Per- corpora e informatica: il Lessico della letteratura mu- former deals: ‒ Overview ‒ Performance in the film sicale italiana 1490–1950 (LesMu) / Fabio Rossi ‒ (no record rights) ‒ Record rights to film performan- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 44

ces ‒ 29. Film songwriter deals: ‒ Terminology ‒ Deal Payne, Michael: The Life and Music of Eric Coates. points ‒ 30. Composer agreements: ‒ Deal points ‒ Farnham, Surrey/Burlington, VT: Ashgate 2012, xvi, Package deals ‒ Creative financing ‒ Television com- 279 S. posers ‒ Video game composers ‒ 31. Licensing exist- Eric Coates (1886–1957) is perhaps the most familiar ing recordings and existing songs for motion pictures: name associated with British light music, with his me- ‒ Master licenses ‒ Licensing existing musical compo- morable tunes including the openings to the BBCʼs In sitions for films ‒ Film music quiz ‒ 32. Music super- Town Tonight, Desert Island Discs and The Forsyte visors: ‒ Role ‒ Fees and royalties ‒ Television super- Saga as well as the theme from the Dam Busters film. visors ‒ 33. Soundtrack album deals: ‒ Score albums ‒ In many ways, Coatesʼ story is the story of British Song albums ‒ Cost covering ‒ Other issues. light music, and this study offers a fascinating insight into the heyday and decline of the British light music Paulus, Irena: Du Role de la musique dans le cinema tradition. Michael Payne provides an indispensable in- hollywoodien classique.Les fonctions de la musique sight into the man and his music. dans le film Casablanca (1943) de Michael Curtiz. In: International Review of the Aesthetics and Socio- Peim, Nick: “If only you could see what I’ve seen logy of Music 28,1, June 1997, S. 63–110. with your eyes”. Blade Runner and La Symphonie Pastorale. In: Classics in Film and Fiction. Ed. by Paulus, Irena: Stanley Kubrick’s Revolution in the Deborah Cartmell, Imelda Whelehan & I. Q. Hunter. Usage of Film Music: 2001: A Space Odyssey London/Sterling, VA: Pluto Press 2000, S. 14–33 (1968). In: International Review of the Aesthetics (Film/Fiction. 5.). and Sociology of Music 40,1, June 2009, S. 99–127. Perez Perez, Miguel Angel: Hollywood Film Music: Paulus, Irena: Williams versus Wagner or an At- Cramping the Composer’s Style. [Alicante]: Depar- tempt at Linking Musical Epics. In: International tamento de Filología Inglesa, Universidad de Alican- Review of the Aesthetics and Sociology of Music 31, te, 2004, i, 149 S. (Working papers / Universidad de 2, Dec. 2000, S. 153–184. Alicante. Departamento de Filología Inglesa. 9.).

Pavlović, Ivanka / Marković, Slobodan: The Effect Pfister, Patric: Filmmusik als Medium ästhetischer of Music Background on the Emotional Appraisal of Erfahrung im Kontext einer interdisziplinären, prag- Film Sequences. In: Psihologija 44,1, 2011, S. 71– matisch-konstruktivistisch orientierten Lernumge- 91. bung. Entwicklung und Evaluation musik-medienpä- In this study the effects of musical background on the dagogischer Unterrichtsbausteine. Diss., Halle (Saa- emotional appraisal of film sequences was investigat- le): Universität Halle 2013, 447 Bl., 1 CD-ROM. ed. Four pairs of polar emotions defined in Plutchik’s model were used as basic emotional qualities: joy-sad- Piccardi, Carlo: Pierrot at the Cinema: The Musical ness, anticipation-surprise, fear-anger, and trust disgust. In the preliminary study eight film sequences and Common Denominator from Pantomime to Film: eight music themes were selected as the best represen- Part I. In: Music and the Moving Image 1,2, July tatives of all eight Plutchik’s emotions. In the main ex- 2008, S. 37–52. periment the participant judged the emotional qualities of film-music combinations on eight seven-point Pielke, Robert G.: Rock Music in American Culture: scales. Half of the combinations were congruent (e.g. The Sounds of Revolution. 2nd ed., Jefferson, NC: joyful film - joyful music), and half were incongruent McFarland 2012, x, 255 S. (e.g. joyful film - sad music). Results have shown that Darin: 6. Film: A Creative Tension [S. 92–104]. visual information (film) had greater effects on the emotion appraisal than auditory information (music). Pinch, Trevor / Bijsterveld, Karin: Sound Studies: The modulation effects of music background depend New Technologies and Music. In: Social Studies of on emotional qualities. In some incongruent combinations (joysadness) the modulations in the expected di- Science 34,5, 2004, S. 635–648. rections were obtained (e.g. joyful music reduces the sadness of a sad film), in some cases (anger-fear) no Pisters, Patricia: The chirping of a little bird. Some modulation effects were obtained, and in some cases (film) theoretical reflections. In: Soundscapes of the (trust-disgust, anticipation-surprise) the modulation Urban Past: Staged Sound as Mediated Cultural He- effects were in an unexpected direction (e.g. trustful ritage. Ed. by Karin Bijsterveld. Bielefeld: Trans- music increased the appraisal of disgust of a disgust- cript 2013, S. 117–125. ing film). These results suggest that the appraisals of Zur Verfilmung von Döblins Berlin Alexanderplatz. conjoint effects of emotions depend on the medium (film masks the music) and emotional quality (three Platte, Nathan: Music for Spellbound (1945). A con- types of modulation effects). Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 45 tested collaboration. In: The Journal of Musicology: dingly, the catalogs grew increasingly complex and A Quarterly Review of Music History, Criticism, provided multidimensional taxonomies of nested cate- Analysis, and Performance Practice 28,4, 2011, S. gories by the end of the silent period. 418–463. Production files detailing the construction of the mu- Pollach, Andrea (Hrsg.): Singen und Tanzen im sical score for the film Spellbound reveal an intense Film. Wien: Zsolnay 2003, 256 S. and complicated collaboration involving music editor Inhalt: Brustellin, Alf: Das Singen im Regen. Über die Audray Granville, director Alfred Hitchcock, com- seltsamen Wirklichkeiten im amerikanischen Filmmu- poser Miklós Rózsa, and producer David O. Selznick. sical (13–39). ‒ Dyer, Richard: Entertainment und Tracing the formation of the score from initial outlines Utopie (40–60). ‒ Rebentisch, Juliane: Musical, through composition and editing shows how these Camp, Queer Underground (61–75). ‒ Fischer, Lucy: four individuals contributed to the scoreʼs develop- Das Bild der Frau als Bild: Die optische Politik von ment. Conflicting instructions from Hitchcock and Dames (76–96). ‒ Seibel, Alexandra: Alles Walzer! Selznick as well as Granvilleʼs preview score influ- Der Wien-Mythos in Ludwig Bergers Stummfilmope- enced Rózsaʼs compositional decisions, and Granvil- rette Ein Walzertraum (1925) ( 97–106). ‒ Mitry, leʼs revisions of Rózsaʼs recorded music affected the Jean: Le Million: Ein Meisterwerk (107–119). ‒ Clark, content of the score. The music of Spellbound does Danae: Arbeit und Filmerzählung: 42nd Street (120– not represent a single or even shared vision, but rather 139). ‒ Reichert, Ramón: Choreografie der Arbeit. an intricate conglomeration of ideas, revisions, and Svetlyj Put und der sowjetische Musikfilm unter Sta- interpolations. Illuminating these layers of discourse lin (140–155). ‒ Baute, Michael / Blanke, Ludger / enriches musico-cinematic analysis by challenging Lenssen, Claudia / Pethke, Stefan: Heißer Sommer. conventional notions of authorship and artistic control Gespräch vom 19.11.2002 (156–170). ‒ Nagl, Tobias: in the Hollywood film score. (Vorlage) Afrika spricht!. Modernismus, Jazz und Rasse im Ki- no der Weimarer Republik (171–196). ‒ Clover, Carol Platte, Nathan: Performing prestige. American cine- J.: Dancin‘ in the Rain (187–212). ‒ Streiter, Anja: ma orchestras, 1910-1958. In: The Oxford Hand- Musik in den Bildern (213–226). ‒ Büttner, Elisabeth: book of Film Music Studies. Ed. by David Neumey- Bereits dort, noch da. Raumgefüge in den musikali- er. Oxford/New York: Oxford University Press schen Filmen von Jacques Demy (227–239). ‒ Bonit- zer, Pascal: Das brennende Zimmer (240–248). 2014, S. 620-638. Pollack, Howard: Marc Blitzstein: His Life, His Plebuch, Tobias: Der dunkle Spiegel – Bachs Musik Work, His World. New York/Oxford: Oxford Uni- in den Filmen Ingmar Bergmans. In: Johann Sebas- versity Press 2012, 618 S. tian Bach und die Gegenwart. Hrsg. v. Michael Hei- Auch zu den film scores von Blitzstein. nemann u. Hans-Joachim Hinrichsen. Köln: Dohr 2007, S. 167–199 . Pontara, Tobias: Bach at the Space Station. Herme- neutic Pliability and Multiplying Gaps in Andrei Plebuch, Tobias: Richard Wagner im Film bis 1945. Tarkovskyʼs Solaris. In: Music, Sound, and the Mov- In: Wagnerspectrum, 2, 2008, S. 123–140. ing Image 8,1, Spring 2014, S. 1–23.

Plebuch, Tobias: Mysteriosos Demystified: Topical Pool, Jeannie G. / Wright, H. Stephen: A Research Strategies within and beyond the Silent Cinema. In: Guide to Film and Television Music in the United Journal of Film Music 5,1–2, 2012, S. 77–92. States. Lanham, MD/Plymouth, UK: Scarecrow Musical topoi, such as religioso, battle, oriental etc., Press 2011, xvii, 174 S. abound in generic silent film compositions (“photo- Inhalt: Film Music Research: A Brief History ‒ Silent play music”) and catalogs of pieces for cinema musi- Film Music Resources (Pool) ‒ Early Sound Film cians in the 1920s. As topoi are indeed useful to evoke Scores (Pool) ‒ Primary Sources for the Study of a meanings and to quickly produce a musical accompa- Filmʼs Soundtrack (Pool) ‒ What Film and Television niment for actions, they had been established in dra- Music Researchers Need to Know about Cue Sheets matic genres and program music long before film mu- (Pool) ‒ Soundtracks and Other Recordings of Film sic became a profession after World War I. Miste- Music (Wright) ‒ Composer Collections: Preserving riosos are a case in point to illustrate the formation the Legacy (Pool) ‒ Film Music Collections in Libra- and longevity of a musical topos from stage melodra- ries and Archives (Wright) ‒ The Literature of Film mas to sound films. When long feature films became Music: A Concise Survey (Wright). mass entertainment and montage techniques ad- vanced, cinema musicians had to develop new cata- loging systems in order to gain control over a vast and Porcile, François: Présence de la Musique à rapidly growing repertoire of music suitable to accom- L’écran. Paris, Editions du Cerf 1969, 368 S. pany complex screen dramas at short notice. Accor- Critical and aesthetic study of film music. Contains Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 46

filmographies and biographies for numerous compo- Rocky Horror Picture/Glee Show. In: Music, Sound, sers. and the Moving Image 6,2, 2012, S. 137–162. Contrary to both its appearance and its audienceʼs re- Porcile, François: Maurice Jaubert: musicien popu- ception, The Rocky Horror Picture Show can be seen laire ou maudit? Paris: Les Editeurs Français Réunis as presenting a narrative that rein-scribes traditional 1971, 286 S. cultural values of heteronormativity. The Showʼs songs, the musical dimensions of which have been un- Porcile, François / Garel, Alain (éds.): La musique à derstudied in much of the discourse on the film, follow broader cultural patterns of 1970s rock music and l’écran. Paris: Ed. Corlet/SACEM/Télérama 1992, can therefore be studied with reference to common- 215 S. (CinémAction. 62.). place signifiers of the genre. Drawing from John See esp. “Georges Duhamel”, S. 49–52, on his works Shepherdʼs study of vocal timbre in popular music, for Jean-Luc Godard’s Week-End and Bertrand Taver- and how it functions to preserve male hegemony, the nier’s La mort en direct. article demonstrates that the progressions of the vocal timbres of Brad and Frank make necessary contribu- Powell, Larson: Allegories of Management: Norbert tions to the filmʼs Bildungsroman ethos, and that a Schultzes’s Soundtrack for Das Mädchen Rosema- change in vocal timbre, as occurs in the filmʼs recent rie. In: Framing the Fifties: Cinema in a Divided incarnation on the television show Glee, requires a Germany. Ed. by John E. Davidson & Sabine Hake. concomitant change in its narrative. New York/Oxford: Berghahn Books 2007, S. 180– 193. (Film Europa. 4.). Redner, Gregg: Fragments of a Life: Becoming-Mu- sic/Woman in Krzysztof Kieśłowskiʼs Trois Cou- Pramaggiore, Maria: The celtic blue note: Jazz in leurs: Bleu. In: Studies in French Cinema 8,3, 2008, Neil Jordan’s Night in Tunisia, Angel, and The Mira- S. 277–287. cle. In: Screen 39,3, 1998, S. 272–288. Redner, Gregg: Deleuze and Film Music: Building a Premchand, Manek: Romancing the Song: Hindi Methodological Bridge between Film Theory and Cinemaʼs Lyrical Journey. Mumbai: Jharna Books Music. Bristol, UK/Chicago, IL: Intellect 2011, 194 2012, 654 S. S. Rez. (Parisini, Violetta) in: Kieler Beiträge zur Film- Rabenalt, Peter: Der Klang des Films. Dramaturgie musikforschung, 8, 2012, S. 328–338. und Geschichte des Filmtons. Berlin: Alexander- The analysis of film music is emerging as one of the Verlag 2014, 269 S. fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology Ranade, Ashok Damodar: Hindi Film Song: Music between film and music theory. Drawing on the philo- beyond Boundaries. New Delhi: Promilla & Co., in sophy of Gilles Deleuze, film studies scholar Gregg association with Bibliophile South Asia 2011, 440 S. Redner provides a much-needed analysis of the prob- Originally published: 2006. lem which then forms the basis of his exploration of the function of the film score and its relation to film’s Rasula, Jed: Visual Music, a Missing Link? In: The other elements. (Verlag) Aesthetics of Matter: Modernism, the Avant-Garde and Material Exchange. Ed. by Sarah Posman, Anne Reichardt, Sarah: Music, madness and modernity in Reverseau, David Ayers, Sascha Bru, Benedikt Hjar- Karl Freund’s Mad Love (1935). In: Horror Studies tarson. Berlin/Boston, Mass: de Gruyter 2013, S. 2,1, 2011, S. 3–13. 39–47. (European Avant-Garde and Modernism Studies. 3.). Reichert, Ramón: Choreographie der Arbeit. Der sowjetische Musikfilm unter Stalin 1928–1940. In: Rathert, Wolfgang: Musik als Widerstand und ʽäs- Singen und Tanzen im Film. Hrsg. v. Pollach, An- thetische Materieʼ. Notizen zu Jean-Marie Straubs drea. Wien: Zsolnay 2003, S. 140–155. und Danièlle Huillets Chronik der Anna Magdalena Bach. In: Die Passion des Künstlers. Kreativität und Reimar,Volker: „Von oben sehr erwünscht“. Die Krise im Film. Hrsg. v. Christopher Balme, Fabienne Filmmusik Herbert Windts im NS-Propagandafilm. Liptay u. Miriam Drewes. München: edition text + Luxembourg: Cinémathèque municipale de Luxem- kritik 2011, S. 140–159. bourg / Trier: Wissenschaftlicher Verlag Trier (WVT) 2003, 241 S. (Filmgeschichte international. Reale, Steven Beverburg: A Sheep in Wolfʼs Corset: 11.). Timbral and Vocal Signifiers of Masculinity in The Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 47

Reinsch, Paul N.: At Least Half the Picture: Sound Woolcockʼs The Death of Klinghoffer. In: Music, and Narration in the Postwar / Pre-Dolby American Sound, and the Moving Image 8,1, Spring 2014, S. Film. Ph.D. Thesis, Los Angeles, CA: University of 57–85. Southern California Los Angeles 2008, vii, 393 S. URL: . cineastische Kompositionen zwischen Illusion und This dissertation: (a) argues that the time between the Realismus. In: Ton-Spuren aus der Alten Welt. Euro- end of World War Two and the introduction of Dolby päische Filmmusik bis 1945. Hrsg. v. Ivana Rentsch technology constitutes a distinct historical period in und Arne Stollberg. München: edition text + kritik the American sound film and labels this the “postwar / pre-Dolby era”; (b) offers case studies of Hollywood 2013, S. 152–168. films, avant-garde films, documentary films, and an animated film from the identified time period; and (c) Reyland, Nicholas: The Beginnings of a Beautiful on the basis of these case studies, complicates the syn- Friendship? Music Narratology and Screen Music chronous / a synchronous dichotomy, the diegetic / Studies. In: Music, Sound, and the Moving Image nondiegetic binary, and the classical hierarchy of 6,1, 2012, S. 55–71. image over sound. In sum, the dissertation argues that the study of film history needs to more fully acknowl- Reyland, Nicholas W.: Zbigniew Preisnerʼs “Three edge the centralityof sound and the study of film Colors Trilogy: Blue, White, Red”: A Film Score sound needs to become more historical.; The disserta- Guide. Lanham, MD/Plymouth, UK: Scarecrow tion discusses changes in the production, aesthetics and exhibition of American films in the postwar / pre- Press 2012, xix, 459 S. (Scarecrow Film Score Dolby era. Films in this period present sound as some- Guides. 11.). thing more than a support for the image and narrative. The foregrounding of sound in film narration is a re- Richardson, John: An Eye for Music: Popular Music turn to the uncontrolled sound of the pre-classical era and the Audiovisual Surreal. Oxford/New York: Ox- and explains the uses and presentation of sound in the ford University Press 2012, xi, 323 S. (The Oxford Dolby era. This leads to a reconfiguration of the clas- Music/Media Series.). sical periodʼs limitations on sound as the exception, Inhalt: Introduction ‒ Navigating the neosurreal: back- rather than the norm, of cinema. The discussion puts ground and premises ‒ Neosurrealist tendencies in re- forth a theorization of film narration as the combina- cent films ‒ Neosurrealist metamusicals, flow and tion of sound and image because film is an audiovisu- camp aesthetics ‒ In tandem with the random: loose al medium.; Topics also include: magnetic sound, ste- synchronisation and remediation in Philip Glassʼs La reo sound, surround sound, voiceover narration, the Belle et la Bête and The Dark Side of Oz ‒ The surrea- use of rock music as performance and underscore, the lism of the virtual band in the digital age: Gorillazʼ direct aural address of the audience, and the combina- “Clint Eastwood” and “Feel good inc.” ‒ Back to the tion of voice and body in films that admit the two do garden? Performing the disaffected acoustic imagina- not naturally or inevitably belong together. ry in the digital age ‒ Concluding thoughts: all that is solid melts into air? Reinsch, Paul N.: Music over Words and Sound over Image: Rock Around the Clock and The Centrality of Riethmüller, Albrecht: Korngolds Mendelssohn: zur Music in Post-Classical Film Narration. In: Music Musik für Max Reinhardts “Sommernachtstraum”- and the Moving Image 6,3, 2013, S. 3–22. Verfilmung (1935). In: Archiv für Musikwissen- schaft 67,3, 2010, S. 187–211. Reitinger, Douglas W.: Paint it black. Tock music Erich Wolfgang Korngoldʼs short, successful, and in- and Vietnam war film. In: Journal of American Cul- fluential career as a film composer got its start when ture 15,3, 1992, S. 53–59. stage director Max Reinhardt hired him to arrange Fe- lix Mendelssohnʼs incidental music to A Midsummer Renick, Kyle: For Christ’s sake. In: Film Score Nightʼs Dream for his Warner Brothers production of Monthly 9,3, 2004, S. 18–48. 1935. The article examines the techniques Korngold used for his adaptation, which utilized the score of the On music for films dealing with Jesus Christ, among incidental music and additional excerpts from other them Nicholas Ray’s King of Kings, Pier Paolo Pasoli- compositions by Mendelssohn. The historical circum- ni’s Il vangelo secondo Matteo, Franco Zeffirelli’s stances surrounding the production, namely, the Third Gesù di Nazareth, Martin Scorsese’s The Last Temp- Reichʼs ban on Mendelssohnʼs music in general and tation of Christ and Mel Gibson’s The Passion of the on his incidental music for The Dream in particular, Christ. are recounted. (Vorlage) Renihan, Colleen: Gesture, Temporality, and the Richie, Donald: Notes on the film music of Takemi- Politics of Engagement in Opera on Film. Penny Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 48 tsu Toru. In: Contemporary Music Review 21,4, Dec. Aleksandrov. 2002, pp. 5–16. Sanchez, Ilario Meandri: Around the marvelous. Robertson, Robert: Eisenstein on the Audiovisual: Film music formulas from an ethnomusicological The Montage of Music, Image and Sound in Cinema. perspective. In: Music and the Moving Image 7,2, LondonNew York: Tauris 2011, xii, 239 S. (Kino.). 2014, S. 34-75. URL: . Theme Songs. Jefferson, N.C: McFarland 2011, viii, Stereotypes and conventions of film music have histo- 199 S. rically been understood by musicology as evidence of bad artistic practice (think for example of the influen- tial Adorno-Eisler paradigm). But the great repository Rona, Jeffrey Carl: The Reel World: Scoring for Pic- of musical conventions of the mainstream narratives – tures: [A Practical Guide to the Art, Technology, a consequence of production practices, true idiomatic and Business of Composing for Film and Televi- competence of the film-music composer – can be sion]. San Francisco, Cal.: Miller Freeman Books scrutinized from the methodological perspective of 2000, xi, 272 S. oral-tradition studies, and understood as a formulaic system. (Vorlage) Rosar, William H.: Music for the MONSTERS: Uni- versal Pictures’ Horror Film Scores of the Thirties. Sandmann, Anne-Katrin: Zwischen Satire und Pro- In: The Quarterly Journal of the Library of Con- paganda. US-amerikanische Anti-Nazi-Cartoons der gress 40,4, Oct.1983), S. 390–421. 1940er Jahre. In: Die Tonkunst: Magazin für klassi- sche Musik und Musikwissenschaft 7,2, 2013, S. Rösser, Thomas: Bilder zum Hören. Die Zusammen- 250–258. arbeit von Alfred Hitchcock mit dem Komponisten Bernard Herrmann. Hamburg: Kovač 2013, 445 S. Sandner, Wolfgang: Wenn Bilder Melodien finden ‒ (Schriften zur Medienwissenschaft. 37.) zum Verhältnis der Künste und zur Beziehung von Zuerst als Diss., Universität Marburg 2012. Musik und Film bei Eleni Karaindrou, François Couturier und Stefano Battaglia. In: Der blaue Rothbart, Peter: The Synergy of Film and Music: Klang. Musik, Literatur, Film, Tonspuren. Der Wir- Sight and Sound in Five Hollywood Films. Lanham, kungskreis von ECM und der europäisch-amerikani- MD/Plymouth, UK: Scarecrow Press 2013, xx, 159 sche Musikdialog. Hrsg. v. Rainer Kern, Hans- S. Jürgen Linke, Wolfgang Sander. Hofheim: Wolke The many roles of music in film / A word about leit- 2010, S. 82–89. motif / The process of music in film / The films exam- Es geht um die Wechselwirkung von Musik mit ande- ined. West side story / Psycho / Empire of the sun / ren Künsten, insbesondere den visuellen. Dafür wer- American beauty / Altered states / Conclusions and fi- den zunächst berühmte Beispiele von Synästhetikern nal words. angeführt (Paul Klee, Jean Sibelius), malende Musiker (Joni Mitchell) erwähnt, Beispiele für musizierende Sackl, Susanne / Sharif, Malik (Hrsg.): Jenseits von Subjekte (u. a. Marc Chagall: “Der grüne Geigenspie- Hören und Sehen. Zur Ästhetik audiovisueller Medi- ler”, 1923–24) genannt und die gegenseitige Beein- en. Osnabrück: Electronic Publ. 2013, VI, 150 S. flussung von bewegten Bildern bzw. von Kino und (Beiträge zur Medienästhetik der Musik. 13.)/(Epos Musik erläutert (Pilip Glass: “Der Fotograf”, 1982 | music.). Jean-Luc Godards Filmästhetik | Theo Angelopoulosʼ Auswahl der Filmmusiken). Schließlich sind es die Filmmusikkomponisten: Eleni Karaindrou, François Sala, Massimiliano (ed.): From Stage to Screen: Mu- Couturier und Stefano Battaglia, deren ruhende sical Films in Europe and United States (1927– Klangwelt beschrieben wird und deren Musik auch 1961). Turnhout: Brepols 2012, xiv, 338 S. (Specv- auf ECM veröffentlicht wurde. (Elisabeth Heil) lvm mvsicae. 19.). Sapiro, Ian: Ilan Eshkeriʼs “Stardust: A Film Score Salys, Rimgaila: “Nam u e ne do smecha”. Muzy- Guide. Lanham: The Scarecrow Press 2013, xxi, 163 kalʼnye kinokomedii Grigorija Aleksandrova [= The S. (Scarecrow Film Score Guides. 15.). musical comedy films of Grigorii Aleksandrov Rim- Eshkeriʼs musical and filmic background ‒ Eshkeriʼs gajla Salis]. Avtoriz. perevod s anglijskogo V.A. working methods and approach to scoring ‒ Critical Tretʼjakova. Moskva: Novoe Literaturʼnoe Obozre- context of the book, film, and narrative ‒ Creation and nie 2012, 354 S. production of the score ‒ Analysis and readings of the Zuerst engl.: The Musical Comedy Films of Grigorii score. Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 49

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Sarkisyan, Svetlana: Le phénomene musical des Schmidl, Stefan / Kröpfl, Monika: Wunschbild und films de Serguei Paradjanov. In: International Re- Exportartikel. Betrachtungen über die audiovisuelle view of the Aesthetics and Sociology of Music 38,1, Struktur von Sissi. In: Die Künste der Nachkriegs- 2007, S. 55–69. zeit. Musik, Literatur und bildende Kunst in Öster- reich. Hrsg. v. Schmidl, Stefan. [Wien]: Böhlau Schäfer, Robert: Der Einsatz des “Dies irae” in Carl Wien 2013, S. 77–88 (Wiener Musikwissenschaftli- Theodor Dreyers Vredens dag (1943). In: Ton-Spu- che Beiträge. 23.). ren aus der Alten Welt. Europäische Filmmusik bis 1945. Hrsg. v. Ivana Rentsch und Arne Stollberg. Schmidt-Banse, Hans Christian: Filmmusik. Für die München: edition text + kritik 2013, S. 201–209. Sekundar- und Studienstufe. Kassel: Bärenreiter 1982, 120 S. (Musik aktuell. 4.). Schifrin, Lalo: Music Composition for Film and Te- levision. Ed. by Jonathan Feist. Boston, Mass.: Berk- Schneider, Enjott: Zeitstrukturen der Filmmusik. In: lee Press / Milwaukee, Wisc: Hal Leonard [Distrib.] Schnitt. Das Filmmagazin, 56, April 2009, S. 20–24. 2011, viii, 278 S. Inhalt: Film and music ‒ Phases of the writing process Schneller, Tom: Easy to cut: modular form in the ‒ The interval relationship of different moods ‒ Ac- film scores of Bernard Herrmann. In: The Journal of tion music ‒ Suspense ‒ Special genres ‒ Synchroni- Film Music 5,1–2, 2013, S. 127–152. zation techniques ‒ Dialogue and sound effects ‒ The function of the human voice ‒ Cinematic devices ‒ Schneller, Tom: Sweet fulfillment. Allusion and te- Ethnic and period music ‒ Beginnings, connections, and endings ‒ Different genres ‒ Studio-composer leological genesis in John Williamsʼs Close Encoun- relationships ‒ Fantasy for screenplay and orchestra ‒ ters of the Third Kind. In: The Musical Quarterly 97, Coda. 1, 2014, S. 98–131. Musical analyses of film music tend to be concerned Schmid, Martin Anton: Filmmusik als . Musik im with the individual components of a film score (the Film – analysiert an Hans Zimmers Score zu ‚Incep- various themes or leitmotifs), rather than with the way these components map onto the overarching narrative tion‘. Saarbrücken: AV Akademikerverlag 2012, trajectory to reinforce the form of the film as a whole. 104 S. To the extent that questions of form are addressed at Filmmusik beeinflusst uns auf eine sehr intime Art all, they are usually relegated to the level of the indivi- und Weise und kann die Wirkung von Bildern in voll- dual cue. As Robin Stilwell pointed out in 2000, “Film kommen unterschiedliche Bahnen lenken – und doch music is perhaps the only predominantly instrumental wird sie kaum bewusst wahrgenommen. Damit die musical genre which comes with no formal expecta- zahlreichen Facetten einer Filmmusik überhaupt er- tions.” And yet it is precisely in the realm of form that fasst werden können, liefert das vorliegende Buch film music carries out one of its most important func- eine Einführung in die Wirkung von Filmmusik – ein- tions, which is to throw into relief the dramatic struc- geschränkt auf das zeitgenössische Hollywoodkino. ture by reinforcing parallel points and creating a Anhand ausgewählter Beispiele werden zentrale musi- goal-oriented sense of gathering tension, climax, and kalische Hintergründe herausgearbeitet und analysiert. resolution across the narrative arc of the film. Film Anschließend werden das filmmusikalische Schaffen music, as Zofia Lissa noted in her 1965 study of film von Hans Zimmer sowie wesentliche Merkmale seiner music aesthetics, possesses a “double-layered,” “fil- Kompositionstechnik(en) untersucht. Am Ende folgt mic-musical” form, the defining element of which is eine genaue Analyse von Zimmers Filmmusik zu „In- the “functional interrelationship between the two lay- ception“, wobei v.a. die einzelnen Themen und Moti- ers of the film” - that is, the musical and the visual/ ve herausgearbeitet und in den dramaturgischen Kon- dramatic. Due to the fluid, constantly evolving nature text des Films eingebettet werden. Dies macht die of cinematic narrative and the fragmentation of film Darstellung zentraler Wirkungszusammenhänge der music into an archipelago of short, isolated cues, it Filmmusik sowie die konkrete Analyse ihrer Struktur generally eschews conventional forms that rely on möglich, wobei genauestens recherchierte Notenbei- symmetry and recapitulation in favor of a flexible mu- spiele die Erklärungen veranschaulichen. sical fabric based on the constant variation and evolution of short motives. Although this, for the most part, Schmidl, Stefan: “... vom Deutschen Reich bewußt renders the vocabulary of Formenlehre irrelevant to zu distanzieren”. Filmmusik in Österreich 1933 bis the analysis of film music, it does not follow that the Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 50

large-scale structure of film music bears no relation- Schweinhardt, Peter / Gall, Johannes C.: Composing ship to historical antecedents. On the contrary, the for film. Hanns Eislerʼs lifelong film music project. overall form of some of the most famous and effective Transl. by Oliver Dahin. In: The Oxford Handbook film scores displays a kinship not only to opera, but of Film Music Studies. Ed. by David Neumeyer. Ox- the symphonic tradition as well. ford/New York: Oxford University Press 2014, S. 131-187. Schonherr, Ulrich: Out of Tune: Music, Postwar Pol- itics, and Edgar Reitzʼs Die Zweite Heimat. In: New Scott, D. Travers: Intertextuality as ‘Resonance’: German Critique, 110, 2010, S. 107–124. Masculinity and Anticapitalism in Pet Shop Boysʼ Score for Battleship Potemkin. In: Music, Sound, Schönherr, Ulrich: Klang - Bild - Sprache. Musika- and the Moving Image 7,1, 2013, S. 53–82. lisch-akustische Konfigurationen in der Literatur und im Film der Gegenwart. Bielefeld: Aisthesis Shaw, Lisa / Stone, Rob (eds.): Screening Songs in 2014, 192 S. Hispanic and Lusophone Cinema. Manchester: Man- Enthält: Verstimmungen. Musik, Politik und Gesell- schaft nach 1945 und Edgar Reitzʼ Die Zweite Heimat chester University Press / New York: Palgrave Mac- (82–101). ‒ Als die Bilder hören lernten. Musik, Ton, millan [Distrib.] 2012, xv, 320 S. Avantgardeästhetik und Geschlechterkonfiguration in Wim Wendersʼ Lisbon Story (132–152). Shephard, Tim / Leonard, Anne (eds.): The Rout- ledge Companion to Music and Visual Culture. New Schroeder, David P.: Hitchcockʼs Ear: Music and York/Abingdon, Oxon: Routledge 2014, xviii, 391 the Directorʼs Art. New York: Continuum 2012, xii, S. 263 S. Darin: Film I: Bollywood-Music And Multimedia / Inhalt: Introduction ‒ The sway of America and Eu- Anna Morcom (S. 352–358); Film II / David Neumey- rope ‒ The Lodger: a London symphony ‒ The music er (S. 359–366). of montage: Blackmail ‒ Waltzes and the dance of death ‒ Shadow of a waltz ‒ Through a rear window Shuker, Roy: Understanding Popular Music Cul- darkly ‒ The piano: instrument of seduction ‒ Mozart ture. 4th ed., Abingdon, Oxon/New York: Routledge vs. Wagner: order and ambiguity ‒ Going popular. 2013, vi, 282 S. Darin: ʽU got the lookʼ: from film to video games: Schulz, Daniela: Wenn die Musik spielt... Der deut- music and pictures. sche Schlagerfilm der 1950er bis 1970er Jahre. Bie- lefeld: Transcript 2012, 331, (4) S. Shusterman, Richard: Moving Truth. Affect and Au- Rez. (Hans J. Wulff) in: Act. Zeitschrift für Musik & thenticity in Country Musicals. In: Journal of Aes- Performance, 4, Jan. 2013. thetics and Art Criticism 57,2, Spring 1999, S. Rez. (Dietmar Elflein) in: Samples 11, 2012, URL: 221-233. . country music and analyzes a particular movie genre that it generated – the country musical. The paper Schwarz, Mathias: Die Bedeutung des Filmherstel- shows how country music achieves an aura of authen- lungsrechtes für die Auswertung des fertiggestellten ticity through, to use of affect and narrative. In show- Filmes ‒ dargestellt am Beispiel von Filmmusik des ing this, the paper analyzes two films and the theories GEMA-Repertoires. In: Zeitschrift für Urheber- und of William James and Walter Benjamin. Medienrecht 32, 1988, S. 429–438. Silbergeld, Jerome: From Mountain Songs to Silvery Schwehr, Cornelius: Neue Musik oder neue Filmmu- Moonlight: Some Notes on Music in Chinese Cine- sik. Zum Verhältnis von Musik und Film. In: Wech- ma. In: Zhang, Yingjin (ed.): A Companion to Chi- selwirkungen. Neue Musik und Film. Hrsg. v. Jörn nese Cinema. Malden, MA: Wiley-Blackwell 2012, Peter Hiekel. Hofheim am Taunus: Wolke 2012, S. S. 417–428. (Wiley-Blackwell Companions to Na- 21–28. tional Cinemas.).

Schweinhardt, Peter: Schicksal am Lenkrad ‒ Hanns Siôn, Pwyll Ap: Understanding Minimalist Film Eislers Beitrag zum österreichischen Heimatfilm? Music: The Case of Man on Wire. In: The Sound- In: Hanns Eisler ‒ ein Komponist ohne Heimat? track 5,1, June 2012 , pp. 51–66. Hrsg. v. Hartmut Krones. Wien/Köln/Weimar: Böh- lau 2012, S. 97–108. Slobin, Mark: Central Asian Film Music as a Sub- cultural System. In: Ethnomusicology Forum 18,1, Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 51

June 2009, pp. 153–164. Stenzl, Jürg: Éric Rohmers erster Spielfilm Le signe du lion (1959) und dessen Musik von Louis Saguer. Slowik, Michael: Diegetic withdrawal and other In: Musicologica Austriaca. Jahresschrift der Öster- worlds. Film music strategies before King Kong, reichischen Gesellschaft für Musikwissenschaft 29, 1927–1933. In: Cinema Journal 53,1, 2013, S. 1–25. 2010, S. 171–193. Stage director Éric Rohmer must be called an “ascet- Smith, Jeff: “The tunes they are a-changing”. Mo- ic” as far as the music in his films is concerned: There ments of historical rupture and reconfiguration in the is no conventional “film music” and generally his production and commerce of music in film. In: The work is more sparing in this respect than that of any Oxford Handbook of Film Music Studies. Ed. by Da- other French stage director. This did not prevent him from composing the few elements of sounds in his vid Neumeyer. Oxford/New York: Oxford Universi- films himself, assisted by Jean-Louis Valero and using ty Press 2014, S. 270-290. the pseudonym Sebastien Erms. It is all the more surprising that for his first motion picture Le Signe du li- Stam, Robert: Samba, Candomble, Quilombo: Black on he asked the largely unknown composer Louis Sa- Performance and Brazilian Cinema. In: Journal of guer (1907–1991) to write a Sonata for Violin solo, a Ethnic Studies 13,3, Fall 1985, pp. 55–84. true “concert piece”. It found its place in this film as non-diegetic music, though in a very independent Stein, Alexander: Music and trauma in Polan- manner. As far as the use of music in the films of skiʼs The Pianist (2002). In: Psychoanalytic Inquiry “Nouvelle Vague” is concerned, Le Signe du lion 27,4, Sept.-Oct. 2007, S. 440–454. forms a kind of borderline: Later on Francois Truf- faut, Claude Chabrol, Jean-Luc Godard and Éric Roh- This article takes Wladyslaw Szpilmanʼs (1999) me- mer himself, but also Alain Resnais and Jacques Ri- moir and Roman Polanskiʼs award-winning 2002 film vette have taken up very different and individual paths interpretation of it as dual points of entry for exploring so far nearly unappreciated. (Vorlage) certain intrapsychic functions of music in the context of massive trauma. Particular attention is given to the relationship between Szpilmanʼs mental life and his Stenzl, Jürg: Jean-Luc Godard ‒ musicien. Die Mu- art (involving such elements as time, memory, and sik in den Filmen von Jean-Luc Godard. München: fantasy). A further focus is the specialized characterol- edition text + kritik 2010, 464 S. ogical features unique to the highly trained profession- Rez. (Hans J. Wulff) in: Musicologica Austriaca, 30, al musician (e.g., discipline, ability to tolerate isola- 2011, S. 229–232. tion, physical and metaphysical relationship to the in- Rez. (Nonnenmann, Rainer) in: Neue Zeitschrift für strument and to the musical score, psychosexual and Musik 172, 2011, S. 100. other developmental components of becoming a con- Rez. (Haffter, Christoph) in: Dissonance 116, 2011, S. cert artist, etc.) as significant factors in Szpilmanʼs 82. psychological and physical survival. A related parallel Rez. (Neumeyer, David) in: Notes 68, 2011, S. 394– discussion considers Polanskiʼs use of Chopinʼs music 396. as a symbolic extranarrative language in the filmʼs storytelling. Sterne, Jonathan (ed.): The Sound Studies Reader. Abingdon, Oxon/New York, NY: Routledge 2012, Steinhauer, Iakovos: Musik und Montage bei Sergej x, 566 S. Eisenstein. In: Film als Raumkunst: Historische Per- Inhalt: Sonic imaginations / Jonathan Sterne. ‒ The spektiven und aktuelle Methoden. Hrsg. v. Henning auditory dimension / Don Ihde. ‒ Noise: the political Engelke, Ralf Michael Fischer & Regine Prange. economy of music / Jacques Attali. ‒ Contradicting Marburg: Schüren 2012, S. 103–114 (Marburger media: toward a political phenomenology of listening / Schriften zur Medienforschung, 23.). Jody Berland. ‒ The three listening modes / Michael Chion. ‒ Cassette sermons, aural modernities and the Islamic revival in Cairo / Charles Hirschkind. ‒ The Steinhauer, Iakovos: Notizen zur Ästhetik der Film- ontology of vibrational force / Steve Goodman. ‒ musik. In: Ton-Spuren aus der Alten Welt. Europäi- Hearing aids and the history of electronics miniaturi- sche Filmmusik bis 1945. H Hrsg. v. Ivana Rentsch zation / Mara Mills. ‒ Following you: disciplines of und Arne Stollberg. München: edition text + kritik listening in social media / Kate Crawford. ‒ The 2013, S. 13–26. soundscape / R. Murray Schafer. ‒ The Walkman effect / Shuhei Hosokawa. ‒ Sound, modernity and his- Stenzl, Jürg: Zwischen Pays de Vaud und Paris: Li- tory / Emily Thompson. ‒ No corner for the devil to berté et patrie: Ein Filmessay von Jean-Luc Godard hide / Richard Cullen Rath. ‒ The soundproof study / und seine Musikverwendung. In: Jean-Luc Godard. John Picker. ‒ Listening to machines: industrial noise, Hrsg. v. Bernd Kiefer. München: edition text & kri- hearing loss and the cultural meaning of sound / Karin Bijsterveld. ‒ An anthropologist underwater: immer- tik 2010, S. 87–98 (Film-Konzepte. 20.). Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 52

sive soundscapes, submarine cyborgs and transductive nen. In: Ton-Spuren aus der Alten Welt. Europäi- ethnography / Stefan Helmreich. ‒ Ancient acoustic sche Filmmusik bis 1945. Hrsg. v. Ivana Rentsch spaces / Barry Blesser and Linda-Ruth Salter. ‒ The und Arne Stollberg. München: edition text + kritik audio-visual iPod / Michael Bull. ‒ The sound of mu- 2013, S. 93–124. sic in the era of its electronic reproducibility / John Mowitt. ‒ Four and a half film fallacies / Rick Altman. ‒ Gramophone / Friedrich Kittler. ‒ Fidelity versus Stoppe, Sebastian: Das “Red curtain”-Kino. Baz intelligibility / James Lastra. ‒ Shaping the synthesizer Luhrmanns Filme “Romeo + Juliet” und “Moulin / Trevor Pinch and Frank Trocco. ‒ The recording stu- Rouge”. Marburg: Tectum 2006, 180 S. dio as fetish / Louise Meintjes. ‒ The phonographʼs new media publics / Lisa Gitelman. ‒ Deadness: tech- Stoppe, Sebastian (Hrsg.): Film in Concert: Film nologies of the intermundane / Jason Stanyek and Scores and Their Relation to Classical Concert Mu- Benjamin Piekut. ‒ This is the voice of Algeria / sic. Glückstadt: Hülsbusch 2014, 207 S. Frantz Fanon. ‒ Gender and early telephone culture / From the very beginning of cinema, music always Michèle Martin. ‒ Radio and the imagined community played an important role in the history of filmmaking. / Michelle Hilmes. ‒ The telephonic uncanny and the Nonetheless, film music is judged by critics as a kind problem of communication / John Durham Peters. ‒ of low-grade art form. However, the majority of film Cellular disability: consumption, design and access / score composers enjoyed a classical education and Gerard Goggin. ‒ Social transculturation, epistemolo- composed as well for the silver screen as for the con- gies of purification and the aural public sphere in La- cert hall. Film music also has its roots in the musical tin America / Ana María Ochoa Gautier. ‒ Reading the era of romanticism. Therefore, symphonic film scores sonoric landscape / Richard Leppert. ‒ Music research can be regarded as program music in a broader sense. and psychoacoustics / Georgina Born. ‒ Noise of the These scores were influenced by a motion picture in- avant-garde / Douglas Kahn. ‒ Operating system for stead of a poem, a landscape, or a painting. It is nei- the redesign of sonic reality / Kodwo Eshun. ‒ Star- ther necessary nor supposed that film music must be ship Africa / Michael Veal. ‒ Auditory relations / subordinate to its belonging film. In fact, a well-writ- Brandon LaBelle. ‒ Toward a feminist historiography ten film score may enhance the impact of a film by of electronic music / Tara Rodgers. ‒ The voice that using its own language—the language of music. keeps silence / Jacques Derrida. ‒ The grain of the Film music is still not truly recognized as an own style voice / Roland Barthes. ‒ Desiring machines in black of music which is to be performed regularly in a con- popular music / Alexander Weheliye. ‒ Multiple voi- cert hall. There are still strong prejudices about film ces / Adriana Cavarero. ‒ Laughing machines / Jacob music—too nice, too industrial, full of clichés, and Smith. ‒ The linguistics of the voice / Mladen Dolar. unworthy to be performed live by an orchestra. This book wants to explore the nature of film music and its Stock, Walter: Film und Musik. Eine Dokumentation relation to classical music in this volume. How is film über Musikfilm und Filmmusik. Aachen: Bundesar- music perceived today? Does film music have its beitsgemeinschaft für Jugendfilmarbeit und Medien- place on its own—uncoupled from its original film— erziehung 1977, 230 S. in the concert hall? And how does film music relate to other musical genres in the 19th and 20th century? Stokes, Jordan: Rock composition and recomposi- Contents: Sebastian Stoppe: Film Music in Concert: Introduction / 7–10. ‒ Sebastian Stoppe: Film Com- tion in The Departedʼs soundscape. In: Music and posing between Art and Business / 11–24. ‒ Emilio the Moving Image 6,2, 2013, S. 3–20. Audissino: Overruling a Romantic Prejudice: Film Research on pop music in film has emphasized the Music in Concert Programs / 25–44. ‒ Jaume Radiga- transformative effect of the song on the film. Using les: Wagnerʼs Heritage in Cinema: The Bernard Herr- examples from Martin Scorseseʼs The Departed, I mann Case / 45–62. ‒ Irena Paulus: Williams versus argue that songs, too, are transformed by films, for- Wagner. Or an Attempt at Linking Musical Epics / mally altered by a series of transformations I have la- 63–108. ‒ Emilio Audissino: Golden Age 2.0: John beled “Juxtaposition,” “Truncation,” and “Extension.” Williams and the Revival of the Symphonic Film (Vorlage) Score / 109–124. ‒ Gene Pritsker: On Film Music in the 21st Century / 125–130. ‒ Kristjan Jarvi: “A Stokes, Jordan Carmalt: Music and Genre in Film: Soundtrack to Our Lives...” / 131–144. ‒ Gene Prits- Aesthetics and Ideology. Ph.D. Thesis, New York, ker: Composing Cloud Atlas Symphony / 145–160. ‒ NY: City University of New York 2013, 378 S. Lorenzo Sorbo: The Dramatic Functions of Italian Abstract in: Dissertation Abstracts International A Spaghetti Western Soundtracks: A Comparison be- 75,2, 2014. tween Ennio Morricone and Francesco De Masi / 161–174. ‒ Marco Cosci: Musical Labyrinths in Stollberg, Arne: Illustration oder Komposition? Ca- Time: Alain Resnaisʼ LʼAnnee derniere a Marien- mille Saint-Saënsʼ Musik zu LʼAssassinat du Duc de bad / 175–190. ‒ Pascal Vandelanoitte: Ludwig: Con- sonant Music in a Dissonant Life / 191–204. Guise (1908) im Licht späterer Gattungskonventio- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 53

Strigl, Sandra: Traumreisende. Narration und Musik / Kendall, Roger A. (eds.): The Psychology of Music in den Filmen von Ingmar Bergman, André Téchiné in Multimedia. Oxford: Oxford University Press und Julio Medem. Diss., Wien: Universität Wien 2013, xix, 432 S. 2006, 311 Bll. This book focuses on the growing body of empirical Gedruckt: Traumreisende ‒ eine narratologische Stu- research investigating the cognition of musical multi- die der Filme von Ingmar Bergman, André Téchiné media, with an emphasis on temporally organized au- und Julio Medem. Bielefeld: Transcript 2007, 234 S. ditory and visual structures. Multimedia commonly re- (Film.). fers to audiovisual presentations in film, television, vi- Darin bes. „Das Erzählen in Tönen“, S. 191–220. deo, interactive gaming, computer interfaces, and on the Internet. The term empirical refers to the process Sullivan, Jack: Psycho: The music of terror. In: Ci- of collecting data from human participants via syste- neaste 32,1, 2006, S. 20–28. matically designed experiments. Such empirical research provides a framework for understanding the relationships between music, sound, and image in multi- Sullivan, Jack: Hitchcockʼs Music. New Haven, media contexts. The international collection of con- Conn./London: Yale University Press 2006, xix, 354 tributors represents eight countries and a range of dis- S. ciplines including psychology, neuroscience, musicol- Rez. (Kemp, Philip: Sound science) in: Sight and ogy, media studies, film, and communications. Each Sound NS 18,9, 2008, S. 92. chapter includes a comprehensive review of the topic Reu. (Thomas, Paul) in: Film Quarterly 61,4, 2008, S. and, where appropriate, identifies models that can be 83–84. empirically tested. Part I presents contrasting theoreti- Rez. (Wierzbicki, James) in: Modernism/Modernity cal approaches from cognitive psychology, philoso- 15,1, 2008, S. 210–211. phy, semiotics, communications, musicology, and Rez. (Hans J. Wulff) in: Kieler Beiträge zur Filmmu- neuroscience. Part II reviews research on the structural sikforschung 10, 2013, S. 245–251. aspects of music and multimedia, while Part III focuses on research related to the influence of music on Sulzbacher, Laura / Socha, Monika: Forschungs- perceived meaning in the multimedia experience. Part übersicht zum unzuverlässigen, audiovisuellen und IV explores empirical findings on a variety of real- musikalischen Erzählen im Film. In: Erzählen im world applications of music in multimedia including Film: Unzuverlässigkeit ‒ Audiovisualität ‒ Musik. entertainment and educational media for children, vi- Hrsg. v. Susanne Kaul, Jean-Pierre Palmier & Timo deo and computer games, television and online adver- Skrandies. Bielefeld: transcript 2009, S. 255–274 tising, auditory displays of information, and the impact of surround sound, showing how theory and prac- (Medienkulturanalyse.). tice intertwine in various examples of multimedia. Part V includes a final chapter that consolidates emergent Summers, Tim: Star Trek and the Musical Depiction themes and concludes with the value of broadening the of the Alien Other. In: Music, Sound, and the Mov- scope of research to encompass multisensory, multi- ing Image 7,1, 2013, S. 19–52. disciplinary, and cross-cultural perspectives to ad- vance our understanding of the role of music in multi- Sun, R.F.: The Aesthetics of Film Music. In: Col- media. lege Music Symposium 19,1, Spring 1979, S. 216– 220. Taylor, Timothy D. / Katz, Mark / Grajeda, Tony (eds.): Music, Sound, and Technology in America: A Tadday, Ulrich (Hrsg.): Hanns Eisler. Angewandte Documentary History of Early Phonograph, Cine- Musik. München: Ed. Text + Kritik 2012, 223 S. ma, and Radio. Durham, NC: Duke University Press (Musik-Konzepte. Sonderband. N.F. 2012.). 2012, xx, 410 S. (American Studies/Film and Music Enthält u.a.: Wolfgang Thiel: Zwischen „Hochofen- History.). Musik“ und Orchesterklängen. Hanns Eislers Arbeit Technikgeschichtlich, zur Tonaufzeichnung. ‒ This als Komponist und „Musikreporter“ für Joris Ivens‘ unique anthology assembles primary documents Film Pesn o Gerojach / Heldenlied / Die Jugend hat chronicling the development of the phonograph, film das Wort / Komsomol von 1932 / 82–99. ‒ Günter Ag- sound, and the radio. These three sound technologies de: Ein Komponist macht Geräusche. Eine Spezialar- shaped Americansʼ relation to music from the late beit Hanns Eislers für den Dokumentarfilm Komso- nineteenth century until the end of the Second World mol von Joris Ivens (1932) / 100–113. ‒ Johannes C. War, by which time the technologies were thoroughly Gall: Eine wiedergefundene Art den Regen zu be- integrated into everyday life. There are more than 120 schreiben. Neue Bahnen zu einer problematischen selections between the collectionʼs first piece, an ar- Tonfassung / 137–167. ticle on the phonograph written by Thomas Edison in 1878, and its last, a column advising listeners “desi- Tan, Siu-Lan / Cohen, Annabel / Lipscomb, Scott D. rous of gaining more from music as presented by the radio.” Among the selections are articles from popular Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 54

and trade publications, advertisements, fan letters, clough. Farnham, Surrey/Burlington, VT: Ashgate corporate records, fiction, and sheet music. Taken to- 2013, S. 249–260. gether, the selections capture how the new sound technologies were shaped by developments such as Tordini, Alessandro: Così nuda, così violenta. Enci- urbanization, the increasing value placed on leisure clopedia della musica nei mondi neri del cinema ita- time, and the rise of the advertising industry. Most importantly, they depict the ways that the new sound liano. Roma: Arcana 2012, 382 S. technologies were received by real people in particular places and moments in time. Trautwein, Wolfgang: Werner Richard Heymann. Rez. (Haskins, Rob) in: ARSC journal 44, 2013, S. Berlin, Hollywood und kein Zurück. Berlin: Hentrich 275–276. & Hentrich 2011, 79 S. (Jüdische Miniaturen. 113.). Rez. (Bandur, Markus) in: Lied und populäre Kultur 58, 2013, S. 314–320. Treibler-Vondrak, Antonia: Silvestre Revueltas. Mu- sik für Bühne und Film. Wien/Köln/Weimar: Böhlau Thompson, Dave: The Rocky Horror Picture Show. 2011, 380 S. (Wiener Schriften zur Stilkunde und Milwaukee, WI: Limelight Editions 2012, 148 S. Aufführungspraxis: Sonderband. 6.). (Music on Film.). Tsivian, Yuri: Dziga Vertovʼs Frozen Music. In: Thompson, Emily Ann: Wiring the world. Theater Griffithiana, 54, Oct. 1995, S. 92–121. installation engineers and the empire of sound in the Cue sheets and a music scenario for Celovek s kino- motion picture industry, 1927–1930. In: Erlmann, apparatom from Dziga Vertovʼs archive at Russiaʼs Veit [ed.]: Hearing Cultures: Essays on Sound, Lis- State Archive of Literature. Reproduces Vertovʼs tening, and Modernity. Oxford/New York: Berg handwritten notes. 2004, S. 191–209. Repr. in: Sound Studies. 3. Sound Spaces, Places Cul- Tzioumakis, Yannis / Lincoln, Siân (eds,): The Time tures and Technologies. Ed. by Michael Bull. London/ of Our Lives: “Dirty Dancing” and Popular Cul- New York: Routledge 2013, S. 112–128. ture. Detroit: Wayne State University Press [2013], xii, 336 S. Tieber, Claus: Zur Inszenierung der Stimme. Visuel- Darin: “Itʼs a Feeling; a Heartbeat”: Nostalgia, Music le Anleitungen zur Interpretation des Nicht-Hörba- and Affect in Dirty Dancing / Claire Molloy. ‒ Danc- ren im Enrico-Caruso-Film My Cousin. In: Auslas- ing in the Nostalgia Factory: Anachronistic Music in sen, Andeuten, Auffüllen. Der Film und die Imagina- Dirty Dancing / Tim McNelis. tion des Zuschauers. Hrsg. v. Julian Hanich u. Hans J. Wulff. München: Fink 2012, S. 191–204. Urchueguía, Cristina: Musik für eine Diktatur. Ma- Während im Tonfilm Musik oftmals dazu dient zu re- nuel Paradas Musik zu Francos Kriegsepos Raza präsentieren, was nicht zu sehen ist, verhält sich im (1941). In: Ton-Spuren aus der Alten Welt. Europäi- Stummfilm die Sache anders. Hier wird gezeigt, was sche Filmmusik bis 1945. Hrsg. v. Ivana Rentsch u. der Zuschauer nicht hören kann. Am deutlichsten wird Arne Stollberg. München: edition text + kritik 2013, die kompensatorische Funktion des Bildes dort, wo S. 210–229. keine Musik und keine Geräusche im Kino jenes Ele- ment ersetzen können, das im Stummfilm zwangsläu- Urek, Thomas: Die Abgrenzung des Filmherstel- fig fehlen muss: die Stimme, insbesondere die Sing- lungsrechtes von den Filmauswertungsrechten, dar- stimme. Der Fall, den dieser Beitrag untersucht, ist einer von zwei Filmen, die Enrico Caruso 1918/19 gestellt am Beispiel der Verwendung von Filmmusik gedreht hat: My Cousin. An Hand des Films werden zur Herstellung und bei der Auswertung eines Film- die filmischen Mittel der Informationsvergabe und der werkes. In: Zeitschrift für Urheber- und Medien- Zuschauerlenkung analysiert. Wie wird der Resonanz- recht 37, 1993, S. 168–173. körper der Stimme dargestellt und in Szene gesetzt? Welcher performativer, inszenatorischer und schnitt- Uroskie, Andrew V.: Visual music after Cage. Ro- technischer Mittel bedient sich der Film, um dem Zu- bert Breer, expanded cinema and Stockhausenʼs Ori- seher jene Les- und Hörart zu vermitteln, die er für ginals (1964). In: Organised Sound ‒ An Internatio- richtige hält? Wie wird die „künstliche“ Oper im „rea- nal Journal of Music Technology 17,2, 2012, S. listischen“ Film repräsentiert und welches Starimage 163–169. des Opernsängers Caruso wird dabei konstruiert? As such, Breerʼs film “accompaniment” to the 1964 production of Stockhausenʼs “Originals” has a curious Titus, Joan: Shostakovich as film music theorist. In: status. While untethered from the musical perfor- Twentieth-Century Music and Politics: Essays in mance, Breerʼs three-part “film performance” extend- Memory of Neil Edmunds. Ed. by Pauline Fair- ed Stockhausenʼs aesthetic and conceptual framework Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 55

in rich and surprising ways. It might thus be under- Vill, Susanne: Wagner-Visionen: Motive aus Wer- stood as a “post-Cagean” form of visual music, one in ken Richard Wagners in Fantasyfilmen. In: Wagner- which the sonic and visual components function in a spectrum 4,2, 2008, S. 9–95. relation of autonomous complementarity within an overarching intermedia assemblage. (Vorlage) Vincent, Delphine: Musique classique à lʼécran et perception culturelle. Paris: LʼHarmattan 2012, 337 Uvarov, Sergej Alekseevic: Muzykalʼnyj mir Alek- S. sandra Sokurova. Moskva: Klassika-XXI 2011, 152 Zugl.: Diss. Fribourg, Université de Fribourg 2011. S., [8] Bl. Cinéma, télévision, Internet: face à ces nouveaux mo- yens de diffusion de la musique classique, quelle atti- Van Order, M. Thomas: Listening to Fellini: Music tude adopter? Traditionnellement, ces pratiques sont and Meaning in Black and White. Madison, Wisc.: entourées de méfiance, voire de mépris. Lʼétude de Fairleigh Dickinson University Press 2009, 275 S. lʼhistoire et des techniques de captation filmique des (The Fairleigh Dickinson University Press Series in concerts et opéras permet de déterminer les modifica- Italian Studies.). tions que le filmage induit sur la perception de la mu- For decades scholarship on Federico Fellini has fo- sique. Les phénomènes récents et en cours dʼexplo- cused on the figure of the director himself, while for- sion, comme le vidéoclip classique, sont pris en consi- mal analysis of the craft of filmmaking has been large- dération. ly overlooked. Fellini spent countless hours in the studios of Cinecitta recording, mixing, and editing voi- Vincent, Delphine: „Lippen schweigen, ʼs flüstern ces, sound effects, and music for his films, but his Geigen: Hab mich lieb! Seduction, power relations unique and often revolutionary uses of cinematic and Lubitschʼs touch in The Merry Widow. In: From sound have never before been systematically studied. Stage to Screen: Musical Films in Europe and Listening to Fellini reveals the singularly important United States (1927–1961). Ed. by Massimiliano Sa- role played by music in the construction of meaning in la. Turnhout: Brepols 2012, S. 271–287. Felliniʼs black-and-white feature-length films, and presents a substantial re-reading of the films made during the most creative period of Felliniʼs artistic de- Vinzenz, Alexandra: Auditive und visuelle Propa- velopment. gandastrategien im NS-Film. Jud Süß (1940) und Der ewige Jude (1940) im Vergleich. In: Ton-Spu- Ventroni, Stefan: Filmmusik aus der Perspektive der ren aus der Alten Welt. Europäische Filmmusik bis deutschen Tonträgerindustrie. In: Zeitschrift für Ur- 1945. Hrsg. v. Ivana Rentsch und Arne Stollberg. heber- und Medienrecht 43,1, 1999, S.24–29. München: edition text + kritik 2013, S. 266–284.

Vijayakar, Rajiv: The History of Indian Film Music: Wallengren, Ann-Kristin: Music in Childrenʼs A Showcase of the Very Best in Hindi Cinema. New Films. In: Film International 3,1, Jan. 2005, S. 40– Delhi: Bennett, Coleman 2009, 128 S. 49.

Vicente, Victor A.: Strange new worlds? Musical Walter, Brian: Wild Things: Music and Masculinity instruments and cultural and temporal coding in In- in Something Wild and Blue Velvet. In: Music, dian and Turkish science-fiction film. In: Musica Sound, and the Moving Image 6,2, 2012, S. 163– Humana (ed. by Korean Institute for Musicology) 183. 3,1, 2011, S. 41–59. Both Something Wild (Jonathan Demme, 1986) and Sci-fiʼs extra-planetary scope has ensured it a global Blue Velvet (David Lynch, 1986) question contempo- audience, inspiring the rise of the genre in many unex- rary conservative social agendas, but also subtly con- pected places. This article explores the emergent firm traditional, paternalistic images of masculinity by worlds of science fiction cinema in India and Turkey, using music to undermine their male protagonistsʼ comparing the local uses of music to those of the West ability to play conventional male heroes. Popular mu- and Japan. Specifically, it examines the way indige- sic in both films works to seduce the male protago- nous timbres are used in the context of symphonic and nists into heady, disorienting relationships with wo- digitized sound to code temporal and cultural other- men that inspire them to face unwonted danger and ness. Analyzing scenes from Stargate, the Bollywood violence. Together, the films offer up an unsettling vi- romance Love Story 2050, and the Turkish space co- sion of male possibility, locating the capacity for medy G.O.R.A. the essay investigates how musical masculine growth and achievement in a redefining, instruments, orchestration, and timbre are used to re- even transformative encounter with female desire and envision the past, construct the present vis-à-vis other authority. They presuppose a certain innocence in world powers, and not only imagine potential futures, their male protagonists that female musical perfor- but indeed forge new trajectories in history. (Vorlage) mance or spectacle will educate by violent means, tap- ping the sensuousness and immediate emotional ap- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 56

peal of popular music to present male protagonists technische Details grundsätzliche musikdramaturgi- who acquire power and authority by submitting them- sche Konzepte. Ebenso leuchtet er die wirtschaftli- selves to women. chen und rechtlichen Rahmenbedingungen von Film- musik im deutschsprachigen Raum aus. Warner, Simon: Text and Drugs and Rock ʼnʼ roll: The Beats and Rock Culture. London: Bloomsbury Wennekes, Emile: Betty meets Cab ‒ the hi-de-ho 2013, xix, 521 S. man animated. In: From Stage to Screen: Musical Darin: 6. The sound of the summer of love? The Beat- Films in Europe and United States (1927–1961). Ed. les and Sgt. Pepper, the hippies and Haight-Ashbury ; by Massimiliano Sala. Turnhout: Brepols 2012, S. Q & A 4: Levi Asher, founder of Beat website Literary 289–296. Kicks ; Interview 5: Ronald Nameth, Beat filmmaker and director of the film of the Exploding Plastic Inevi- Werner, Hans Ulrich (Hrsg.): Montage Collage table. ‒ 13. Return to Lowell: a visit to the Commemo- Komposition. Siegen: Universität Siegen 2014, 201 rative and Kerouacʼs grave ; Review 2: Film: One Fast Move or Iʼm Gone: Kerouacʼs Big Sur. S. (MuK. 195/196.).

Waxman, Jonathan: Lessons from Ives. Elements of White, Timothy R.: Hollywood on (Re)Trial: The Charles Ives’s musical language in the film scores American Broadcasting-United Paramount Merger and symphonic works of Bernard Herrmann. In: Hearing. In: Cinema Journal 31,3, 1992, S. 19–36. Popular Music History 5,1, 2010, S. 21–33. Although Charles Ives is rarely considered a major Whitmer, Mariana: Jerome Morossʼs “The Big influence on movie scoring, the composer Bernard Country”: A film Score Guide. Lanham, MD/Ply- Herrmann, in both his film scores and his symphonic mouth, UK: Scarecrow Press 2012, xv, 197 S. compositions, drew on Ives’s techniques and his broa- (Scarecrow Film Score Guides. 13.). der aesthetic. However, Herrmann did so sparingly in- Inhalt: Jerome Moross in Hollywood ‒ Scoring dra- corporating only one or two of Ives’s techniques in a ma: composing for theater and film ‒ The critical/his- symphonic work or film score. The result is a fusion torical context of The Big Country ‒ Changing the of Ivesian modernism with Herrmann’s own neo-Ro- western soundscape ‒ Analysis of the score. mantic idiom; a contribution to film music that has been almost completely overlooked. This paper fo- Wiener, Oliver: “Wie ein fernes Echo, wie außerirdi- cuses on Herrmann’s cantata Moby Dick, dedicated to sches Rauschen”. Elektronische Musik als Signatur Ives, and his film scores, The Devil and Daniel Web- imaginärer Räume im und hinterm Film. In: Wech- ster and Hangover Square in order to explore the selwirkungen. Neue Musik und Film. Hrsg. v. Jörn impact of the older composer. The “psychological” hallmarks of Herrmann’s film scores, shocking or- Peter Hiekel. Hofheim am Taunus: Wolke 2012, S. chestral colors, unresolved chromaticisms, and ostina- 41–63. tos, are also significant characteristics of Ives’s music. Herrmann’s use of these practices, refined in his later, Wierzbicki, James: Shrieks, Flutters, and Vocal Cur- more famous scores as well, profoundly influenced fu- tains: Electronic Sound/Electronic Music in Hitch- ture film composers and thus the development of mu- cock’s The Birds. In: Music and the Moving Image sic for cinema. (Vorlage) 1,2, July 2008, S. 10–36.

Weber, Horst: “I am not a hero, I am a composer”. Wierzbicki, James: Lost in translation? “Ghost mu- Hanns Eisler in Hollywood. Hildesheim/Zürich/New sic” in recent Japanese Kaidan films and their Holly- York: Olms 2012, 536 S. wood remakes. In: Journal of Horror Studies 1,2, 2010, S. 193–205. Wegele, Peter: Der Filmkomponist Max Steiner (1888–1971). Wien: Böhlau 2012, 300 S., 18 Taf. Wierzbicki, James Eugene (ed.): Music, Sound and (exil.arte-Schriften. 2.). Filmmakers: Sonic Style in Cinema. New York, NY/ Engl.: Max Steiner: Composing, “Casablanca”, and Abingdon, Oxon: Routledge 2012, xv, 210 S. the Golden Age of Film Music. Lanham, Maryland: Collection of essays that examine the work of film- Rowman & Littlefield [2014], x, 259 S. makers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of Weidinger, Andreas: Filmmusik. Konstanz: UVK directors Wes Anderson, Ingmar Bergman, the Coen 2006, 175 S. (Praxis Film. 21.). brothers, Peter Greenaway, Krzysztof Kieslowski, 2., überarb. Aufl. 2011, 200 S. (Praxis Film. 68.). Stanley Kubrick, David Lynch, Quentin Tarantino, Weidinger erklärt die einzelnen Arbeitsschritte einer Andrey Tarkovsky and Gus Van Sant. Significantly, Filmmusikproduktion aus der Sicht des Praktikers. Er the anthology includes a discussion of films adminis- erläutert hierfür verständlich und ohne überflüssige tratively controlled by such famously sound-conscious Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 57

producers as David O. Selznick and Val Lewton. burg 2001, S. 183–201 (Siegener Forschungen zur Contents: Introduction: sonic style in cinema / James romanischen Literatur- und Medienwissenschaft 9.). Wierzbicki ‒ Music, sound, and silence in the films of Ingmar Bergman / Per F. Broman ‒ Andrey Tarkov- Willet, Eugene Kenneth: Music as Sinthome: Joy sky: the refrain of the sonic fingerprint / Elizabeth Riding with Lacan, Lynch, and Beethoven beyond Fairweather ‒ “Itʼs all really happening”: sonic shaping in the films of Wes Anderson / Ben Winters ‒ Postmodernism. Ph.D. Thesis, Austin, TX: Univer- Kieslowskiʼs musique concrète / Joseph G. Kickasola sity of Texas at Austin 2007, xv, 159 Bll. ‒ Gus Van Santʼs soundwalks and audio-visual mu- URL: . the wind: music and meaning in the Coen Brothersʼ Abstract in: Dissertation Abstracts International A films / Matthew McDonald ‒ Sound and uncertainty 68,9, March 2008. in the horror films of the Lewton Unit / Michael Lee ‒ On music’s role in Lynch’s cinematic imagination. Conducting the composer: David O. Selznick and the Discusses especially Blue Velvet, Lost Highway and Hollywood film score / Nathan Platte ‒ The Stanley Mulholland Drive. Kubrick experience: music, firecrackers, disorienta- tion, and you / Kate McQuiston ‒ The filmmakerʼs Willson, Paige A. / Goldsmith, Melissa Ursula contract: controlling sonic space in the films of Peter Dawn / Fonseca, Anthony J.: Alienation, essentia- Greenaway / Ian Sapiro ‒ The attractions of repetition: lism, and existentialism through technique: an analy- Tarantinoʼs sonic style / Lisa Coulthard ‒ Dream tim- sis of set design, lighting, costume, and music in bre: notes on Lynchian sound design / Isabella van El- Draculaʼs daughter and Nadja. In: Brode, Douglas / feren. Deyneka, Leah (eds.): Draculaʼs Daughters: The Rez. (Pontara, Tobias) in: Svensk tidskrift för musik- Female Vampire on Film. Lanham: The Scarecrow forskning 95, 2013, S. 174–176. Rez. (Stefania Marghitu) in: Popular Music and Soci- Press 2014, S. 45–68. ety 37,3, July 2014, S. 376–379. Wingstedt, Johnny / Brändström, Sture / Berg, Jan: Wierzbicki, James Eugene / Platte, Nathan / Roust, Narrative Music, Visuals and Meaning in Film. In: Colin (eds.): A Routledge Film Music Sourcebook. Visual Communication 9,2, May 2010, S. 193–210. New York, NY/Abingdon, Oxon: Routledge 2012, xv, 389 S. Winter, Marian Hannah: The Function of Music in Sound Film. In: The Musical Quarterly 27,2, 1941, Wiese, Epi: The Shape of Music in The Rules of the S. 146–164. Game. In: Quarterly Review of Film Studies 7,3, Summer 1982, pp. 199–210. Winters, Ben: The non-diegetic fallacy: film, music, and narrative space. In: Music & Letters 91,2, 2010, Wigmore, Juliet: Sex, violence and Schubert. Mi- S. 224–244. chael Haneke’s La Pianiste and Elfriede Jelinek’s ʽDie Klavierspielerinʼ. In: Processes of Transposi- Winters, Ben: Musical Wallpaper? Towards an Ap- tion: German Literature and Film. Ed. by Christiane preciation of Non-narrating Music in Film. In: Mu- Schönfeld, in coll. with Hermann Rasche. Amster- sic, Sound, and the Moving Image 6,1, 2012, S. 39– dam; New York: Rodopi 2007, S. 293–306 (Am- 54. sterdamer Beiträge zur neueren Germanistik. 63.). Winters, Ben: Music, Performance, and the Reali- Wilcox, Rhonda V. / Cochran, Tanya R. (eds.): In- ties of film: Shared Concert Experiences in Screen vestigating “Firefly” and “Serenity”: Science Fic- Fiction. New York, NY/Abingdon, Oxon: Routledge tion on the Frontier. London/New York: Tauris 2014, viii, 260 S. (Routledge Research in Music. 9.). 2008, xi, 290 S. (Investigating cult TV.). Real performers: the musician as actor ‒ Reel per- See esp.: Lerner, Neil: Music, race, and paradoxes of formers: fictional music and musicians ‒ Film and representation: Jubal Early’s musical motif of barba- life: the mirror of film ‒ Moments of desperation and rism in Objects in Space (183–190); Neal, Christo- peril: Hollywood and concert performance ‒ Fantasiz- pher: Marching out of step: Music and otherness in the ing, visualizing, miming: “fictional” listening? ‒ Firefly/Serenity saga (191–200). Hearing symphonies cinematically ‒ The concert as drama: structuring and shaping narrative ‒ Film viewed from the podium: music and the ontology of Wild, Gerhard: Quem quaeritis in sepulchro? Über- movies. legungen zu Musik und Mittelalter in Eric Rohmer’s Perceval le Gallois. In: Rohmer intermedial. Hrsg. Winters, Ben: Swearing an oath. Korngold, film, and v. Uta Felten u. Volker Roloff. Tübingen: Stauffen- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 58 the sound of resistance? In: The Impact of Nazism Wulff, Hans J.: Textsemantische Grundlagen der on Twentieth-Century Music. [International confe- Analyse von Musikszenen und musikalischen In- rence entitled “The Impact of Nazism on Twentieth- serts. In: Kieler Beiträge zur Filmmusikforschung, 9, Century Music” took place in April 2008 at the Uni- 2013, S. 224–292. versity of Londonʼs Senate House]. Ed. by Erik Le- „Musikalische Szenen“ gehen oft über die klare Ein- vi. Wien/Köln/Weimar: Böhlau 2014, S. 61–76. bindung in den narrativen Kontext hinaus, setzen Überschussbedeutungen frei oder machen Tiefenbe- Wolff, Stephan: Gustav Mahler ‒ ein Weltenregis- deutungen erschließbar; oft können sie eine schnell seur. Das Filmmusikhafte und die Filmästhetik in erkennbare ästhetische Eigenständigkeit beanspru- chen. Es gibt eine ganze Reihe von mächtigen Klam- seinem Werk. Kleinmachnow: Musicalegenda 2012, mern, die die relative Autonomie von Szenen oder Se- 163 S. quenzen begründen, das sollten die vorgängigen Über- legungen unterstreichen: Kriterien der Situation oder Wulff, Hans J.: Militärmusiken im dramatischen Szene selbst einschließlich der Körperlichkeit des Feld des Spielfilms. In: Popularisierung und Artifizi- Handelns, des Thematischen, des Stilistischen, des alisierung in der Militärmusik. [Dokumentation zum Modalen, schließlich natürlich des Narrativen. In al- gleichnamigen Symposium vom 6. bis 7. September len diesen Beispielen kann Musik als Mittel eingesetzt 2011 in Bonn]. Hrsg. v. Michael Schramm. Bonn: werden, die Sequenz von der Umgebung abzugrenzen. Militärmusikdienst der Bundeswehr 2012, S. 1–18 Für die Textsemantik des Films können Musiken von (Militärmusik im Diskurs. 7.). ausgesprochen zentralem Belang sein. Sie sind kein schmückendes Beiwerk, sondern in oft komplizierter Weise Teil der filmischen Darstellung, Element der Wulff, Hans J.: Hoppla, jetzt komm ich! Gastauftritte Repräsentationsmodalitäten und Teil des sinnlichen und Auftrittslieder oder Die Brüchigkeit filmischer Angebots des Films, das eine unter Umständen ganz Musikszenen. In: Musik und Ästhetik 16,4 (= 64), eigene Bindung zwischen Leinwand und Zuschauer Okt. 2012, S. 22–41. stiftet. (Artikel) Kurzfassung: Auftrittslieder: Überlegungen zur diege- tischen Brüchigkeit in filmischen Musikszenen. In: Wulff, Hans Jürgen: Über das Ende der Erzählung Revisionen ‒ Relektüren ‒ Perspektiven. Dokumentati- hinaus... Filmmusik und die Finalisierung von Tex- on des 23. Film- und Fernsehwissenschaftlichen Kol- ten. In: Archiv für Musikwissenschaft 70,1, 2013, S. loquiums [Hildesheim 2010]. Hrsg. v. Simon Frisch u. 1–16. Tim Raupach. Marburg: Schüren 2012, S. 351–359. In conveying the story of a fictional reality in which the viewer from the outset is invited to cognitively and Wulff, Hans J.: Affekträume. Filmmusik und die emotionally participate, the successful transmission of subtextuelle Charakterisierung der Figuren der narration-based texts is dependent on processes that Handlung. In: Musik und Gefühl. Interdisziplinäre forge hypothetical constructions and encourage the Annäherungen in musikpädagogischer Perspektive. viewerʼs moral empathy with the main characters. At Hrsg. v. Martina Krause u. Lars Oberhaus. Hildes- the storyʼs conclusion the narration is not merely ex- heim: Olms 2012, S. 249–267. tended but rather contextually experienced within its Über Subtextualität als affektrelevantes Funktionsele- dramaturgical and poetic boundaries. The article ment von Filmmusik. presents four strategies of musically supported or music-based forms in a narrative filmʼs final scenes, in Wulff, Hans J.: Gemeinsames Musizieren im Film: which they remain reflexively related to the text, posi- Notizen zu einer dramaturgischen Elementarfunkti- tioned, as it were, above the story. (Vorlage) on. In: Zeitschrift Ästhetische Bildung 4,2, 2012. Wulff, Hans J.: Finale allʼopera: Wenn Filme URL: . opernhaft enden. In: Cinema (Zürich) 59, 2013, S. Über die Effekte gemeinsamen Musizierens auf die 59–67. Binnenkohäsion sozialer Gemeinschaften sowie die musikalische Darstellung von „Kollektivität“. Yacavone, Daniel: Spaces, Gaps, and Levels. From the Diegetic to the Aesthetic in Film Theory. In: Mu- Wulff, Hans J.: Vom Kanon zur Volxmusik. Arne sic, Sound, and the Moving Image 6,1, 2012, S. 21– Birkenstocks und Jan Tengelers Film Sound of Hei- 37. mat (2012). In: Lied und populäre Kultur / Song and Popular Culture. Jahrbuch des Deutschen Volkslied- Younger, Richard: Song in Contemporary Film archivs Freiburg 58, 2013 [Themenheft „Song und Noir. In: Films in Review 45,7–8, July-Aug. 1994, S. populäres Musiktheater“], S. 241–248. 48+ (insges. 3 S.). The writer discusses how songs have become increas- Bibliographie der Filmmusik. Ergänzungen 2012–14 // Medienwissenschaft, 157, 2014 /// 59

ingly important in modern film. With their added ele- of a whole and detail, with light and especially with ment of lyrical text and because of the psychological music in an unusual way. The music for the film Ďá- undercurrent found in many films noir, songs have blova past was composed by Zdeněk Liška (1922– been used to foreshadow events, develop themes, fur- 1983), an unjustly forgotten Czech composer, who be- ther plots, indicate a characterʼs mood, and underscore came Vláčilʼs court composer and is signed under irony. The songs in the musical scores of the follow- Vláčilʼs most famous film pieces like Marketa Lazaro- ing films are discussed: Someone To Watch Over Me, vá, Údolí včel etc. (Vorlage) Sea Of Love, Scarlet Street, Farewell My Lovely, De- tour, Out Of The Past, and Blue Velvet. [Art Ab- Zenck, Martin: Zur Funktionalität/Dysfunktionalität stracts] und Autonomie von Musik und Film. In: Wechsel- wirkungen. Neue Musik und Film. Hrsg. v. Jörn Pe- Zapletal, Miloš: Ďáblova past. Několik poznámek k ter Hiekel. Hofheim am Taunus: Wolke 2012, S. 65– úloze hudby v “barokním” filmu. In: Opus musicum: 79. hudební revue 44,4, 2012, S. 17–27 . This study brings a neo-formalist analysis of the film Żukowska, Izabela: Muzyka Wojciecha Kilara w fi- Ďáblova past (1961) by the Czech director František lmach Andrzeja Wajdy. Opole: Scriptorium Wy- Vláčil (1924–1999). In terms of methodology, the analysis is based on Russian and American formalists dawn. Naukowe 2013, 131 S. (Seria Scriptorium: and on cognitive psychology. On the first sight a con- Kultura.). ventional historical film, it works with combinations