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This book offers a fresh approach to British film music by tracing the influence of Britain’s musical heritage on the film scores of this era. From the celebration of landscape and community encompassed by pastoral music and folk song, and the connection of both with the English Musical Renaissance, to the mystical strains of choral sonorities and the stirring effects of the march, this study explores the significance of music in British film culture. With detailed analyses of the work of such key filmmakers as Michael Powell and Emeric Pressburger, Laurence Olivier and Carol Reed, and composers including Ralph Vaughan Williams, William Walton and Brian Easdale, this systematic and in-depth study explores the connotations these musical styles impart to the films and considers how each marks them with a particularly British inflection.
A study of the British contribution to film music, detailing the idiosyncracies of British film, and showing how the differences between it and Hollywood affected composers on both sides of the Atlantic. Jan Swynnoe's study is concerned with the special British contribution to film music, detailing how the idiosyncracies of British film, and of the British character, set it apart from its Hollywood counterpart. She shows how the differences between the two industries in all aspects of film making variously affected composers on both sides of the Atlantic. In the mid 1930s, when film composers in America were perfecting the formulae of the classical Hollywood score, film music in Britain scarcely existed; within a year or so, however, top British composers were scoring British films. How this transformation was brought about, and how established British concert composers, including Vaughan Williams and Arnold Bax, faced the challenge of the exacting and often bewildering art of scoring for feature film, is vividly described here, and the resulting scores compared with the work of seasoned Hollywood composers. JAN SWYNNOE researched the material on which her book is based over several years, at the same time pursuing her musical life as pianist, percussionist and composer.
In the first book-length consideration of the topic for sixty years, Kevin Donnelly examines the importance of music in British film, concentrating both on musical scores, such as William Walton's score for Henry V (1944) and Malcolm Arnold's music for The Bridge on the River Kwai (1957), and on the phenomenon of the British film musical.
This book offers a fresh approach to British film music by tracing the influence of Britain’s musical heritage on the film scores of this era. From the celebration of landscape and community encompassed by pastoral music and folk song, and the connection of both with the English Musical Renaissance, to the mystical strains of choral sonorities and the stirring effects of the march, this study explores the significance of music in British film culture. With detailed analyses of the work of such key filmmakers as Michael Powell and Emeric Pressburger, Laurence Olivier and Carol Reed, and composers including Ralph Vaughan Williams, William Walton and Brian Easdale, this systematic and in-depth study explores the connotations these musical styles impart to the films and considers how each marks them with a particularly British inflection.
Mobilizing Music in Wartime British Film examines the preoccupation with art music and total war that animated British films of the 1940s.
This book is a major new study - dealing with notions of film music as a device that desires to control its audience, using a most powerful thing: emotion. The author emphasises the manipulative and ephemeral character of film music dealing not only with traditional orchestral film music, but also looks at film music's colonisation of television, and discusses pop music in relation to films, and the historical dimensions to ability to possess audiences that have so many important cultural and aesthetic effects. It challenges the dominant but limited conception of film music as restricted to film by looking at its use in television and influence in the world of pop music and the traditional restriction of analysis to 'valued' film music, either from 'name' composers' or from the 'golden era' of Classical Hollywood. Focusing on areas as diverse as horror, pop music in film, ethnic signposting, television drama and the soundtrack without a film- this is an original study which expands the range of writing on the subject.
This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices.
Ian Johnson's evaluation of Alwyn's film music places his achievement in the context of wider movements within the film industry. William Alwyn was a leading composer of British film music in the 1940s and '50s, a time when the British film industry was at its peak. His scores ranged from documentaries to almost 80 full-length feature films, including classics such as Fires were Started, Desert Victory, Odd Man Out, The Fallen Idol, and The History of Mr Polly; he was adept at any musical genre, from classical to cartoon slapstick, and in the process worked with legendary directors, including Carol Reed, David Lean, Humphrey Jennings, and Anthony Asquith. Alone with Vaughan Williams he was granted the distinction of a separate title credit; columnists mentioned him alongside Bliss, Bax and Walton. However, as the reputation of the British film industry declined in the 1950s, so musical snobbery against those who were its leading lights became unpleasantly raw. In recent years, however, with sensitive performances of hisfilm and concert music available on CD, this most appealing of composers has enjoyed something of a renaissance. In this long overdue reassessment, Alwyn's films are analysed and put into the context of his biography,the film industry, and of society at large: the author shows in particular this remarkably versatile composer developed a hitherto unrecognised grammar of film music which enhanced every film on which he worked. He also examines his work for war propaganda, radio, and the concert hall. The volume is enhanced by the most complete filmography, discography, and bibliography of the composer's works yet published, as well as listings of his concert and radio music.
Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the industry. A complete index is included in each volume.
This volume draws a map of British film culture in the 1970s and provides a wide-ranging history of the period. It examines the cross-cultural relationship between British cinema and other media, including popular music and television. The analysis covers mainstream and experimental film cultures, identifying their production contexts and the economic, legislative and censorship constraints on British cinema throughout the decade.The essays in Part I contextualise the study and illustrate the diversity of 1970s moving image culture. In Part II, Sue Harper and Justin Smith examine how gender relations and social space were addressed in film. They show how a shared visual manner and performance style characterises this fragmented cinema, and how irony and anxiety suffuse the whole film culture. This volume charts the shifting boundaries of permission in 1970s film culture and changes in audience taste. This book is the culmination of an AHRC-funded project at the University of Portsmouth, For more information about 1970s British Cinema, Film and Video: Mainstream and Counter-Culture (2006-2009) please visit the project website at www.1970sproject.co.uk.