Music and Levels of Narration in Film is the first book-length study to synthesize scholarly contributions toward a narrative theory of film music. Moving beyond the distinction between diegetic and nondiegetic music--or music that is not understood as part of a film's "story world"--Guido Heldt systematically discusses music at different levels of narration, from the extrafictional to "focalizations" of subjectivity. Heldt then applies this conceptual toolkit to study the narrative strategies of music in individual films, as well as genres, including musicals and horror films. The resulting volume will be an indispensable resource for anyone researching or studying film music or film narratology. A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.

The analysis of film music is emerging as one of the 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 between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study, Deleuze and Film Music also offers a solution—a methodological bridge—that will take film music analysis to a new level.

A stimulating and unusually wide-ranging collection of essays overviewing ways in which music functions in film soundtracks.

A theory of the soundtrack is concerned with what belongs to the soundtrack, how a soundtrack is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound and music, classify the types of relations that films have used for image and sound, identify the central problems, and reflect on and describe effective uses of sound in film. This book summarizes and critiques major theories of the soundtrack from roughly 1929 until today. Rather than providing an exhaustive historical survey, it sketches out the range of theoretical approaches that have been applied to the soundtrack since the commercial introduction of the sound film. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories. The organization is both chronological and topical, the former in that the chapters move steadily from early film theory through models of the classical system to more recent critical theories; the latter in that the chapters highlight central issues for each generation: the problem of film itself, then of image and sound, of adequate analytical-descriptive models, and finally of critical-interpretative models.

How and why is pre-existing music used in films? What effects can its use have on films and their audiences? And what lasting impact can appropriation have on the music? Reeled In is a comprehensive exploration of these questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, and Herrmann scores alike in films ranging from the early sound era to the present day, and in every role from ‘main title theme’ to ‘music playing in bar’. Incorporating a discussion of such factors as copyright and commerce alongside examination of texts and their effects, this broad study is a significant contribution to the scholarship on music in screen media, demonstrating that pre-existing music possesses unique attributes that can affect both how filmmakers construct their works and how audiences receive them, to an extent regardless of the music’s style, genre, and so on. This book also situates the reception of music by film, and by audiences experiencing that music through film, as significant processes within present-day culture, while more generally providing an illuminating case study of the kinds of borrowings, adaptations, and reinventions that characterize much of today’s art and entertainment.

This book explores the concept of incongruent film music, challenging the idea that this label only describes music that is inappropriate or misfitting for a film’s images and narrative. Defining incongruence as a lack of shared properties in the audiovisual relationship, this study examines various types of incongruence between a film and its music and considers the active role that it can play in the construction of a film’s meaning and influencing audience response. Synthesising findings from research in the psychology of music in multimedia, as well as from ideas sourced in semiotics, film music, and poststructuralist theory, this interdisciplinary book provides a holistic perspective that reflects the complexity of moments of film-music incongruence. With case studies including well-known films such as Gladiator and The Shawshank Redemption, this book combines scene analysis and empirical audience reception tests to emphasise the subjectivity, context-dependency, and multi-dimensionality inherent in identifying and interpreting incongruent film music.

The Routledge Companion to Screen Music and Sound provides a detailed and comprehensive overview of screen music and sound studies, addressing the ways in which music and sound interact with forms of narrative media such as television, videogames, and film. The inclusive framework of "screen music and sound" allows readers to explore the intersections and connections between various types of media and music and sound, reflecting the current state of scholarship and the future of the field. A diverse range of international scholars have contributed an impressive set of forty-six chapters that move from foundational knowledge to cutting edge topics that highlight new key areas. The companion is thematically organized into five cohesive areas of study: Issues in the Study of Screen Music and Sound—discusses the essential topics of the discipline Historical Approaches—examines periods of historical change or transition Production and Process—focuses on issues of collaboration, institutional politics, and the impact of technology and industrial practices Cultural and Aesthetic Perspectives—contextualizes an aesthetic approach within a wider framework of cultural knowledge Analyses and Methodologies—explores potential methodologies for interrogating screen music and sound Covering a wide range of topic areas drawn from musicology, sound studies, and media studies, The Routledge Companion to Screen Music and Sound provides researchers and students with an effective overview of music’s role in narrative media, as well as new methodological and aesthetic insights.

Branigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon up whenever they desire to "naturalize" style. The book also makes distinctions among types of subjectivity; after this, we will have much more precise ways of tracing the fluctuations among a character's vision, dreams, wishes, and so forth. Branigan also explains the necessity of distinguishing levels of narration.