| Series |
Film and culture
Film and culture. ^A303731
|
| Contents |
Did they mention the music? -- Toward a theory of popular film music -- The composer as tunesmith: the pop score as pop music -- Putting the buzz in the eardrum: the pop score as accessible -- Banking on film music -- Structural interactions of the film and record industries -- Creating kingdoms of song: the film and music industries unite -- Establishing a "sound track" record: the majors and their record subsidiaries -- Sharps, flats, and dollar signs -- Cross-promotion and the market for film music -- From Mantovani to the Beatles: changing the market for film music -- Music sells movies or movies sell music? Early approaches to promoting film music on records -- My Huckleberry friend -- Mancini, "Moon River," and Breakfast at Tiffany's -- Mancini's "Le Jazz Hot": putting some swing in cinema -- That money-making "Moon River" sound: Mancini and the pop song -- Chasing the same Rainbow's End: the meaning and narrative function of "Moon River" -- The Midas touch -- John Barry and Goldfinger -- Creating a Bond Market: selling John Barry's soundtracks and theme songs -- A spider's touch: music and characterization in Goldfinger -- Every gun makes its own tune -- Ennio Morricone, The Good, the Bad, and the Ugly, and "L'Esthetique du Scopitone" -- A fistful of vinyl: Ennio Morricone and the Record Industry -- The ecstasy of gold (records): Leone's image, Morricone's sound -- The sounds of commerce -- Sixties pop songs and the compilation score -- The historical sources and reception of the compilation score -- The forms and functions of the compilation score -- Rock and roll is here to stay: the case of American Graffiti -- Pretty women and dead presidents -- Theme songs and soundtrack albums after 1975 -- Structural interactions of the record and film industries after 1975 -- Contemporary trends in film and music cross-promotion -- The music supervisor -- Patterns of thematic organization in contemporary film music. |
| Abstract |
This is a detailed historical analysis of popular music in American film, from the era of sheet music sales, to that of orchestrated pop records of the 60s and the MTV-ready pop songs from contemporary films. To investigate film and music cross-promotion, the book examines historical, economic and aesthetic factors that brought about the rise of popular music in the movies. |
| Bibliography note | Includes bibliographical references (pages 271-276) and index. |
| LCCN | 98017923 |
| ISBN | 0231108621 (cloth : alk. paper) |
| ISBN | 023110863X (pbk. : alk. paper) |
