Music, authorship, narration, and art cinema in Europe : 1940s to 1980s /

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Includes bibliographical references and index.Introduction / Michael Baumgartner -- Part I. Cinematic Collaborations and the Questioning of the Auteur Style Through Music. Music as a Sonic Enabler : Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles / Laura Anderson ; Palimpsest, Mediation, Déjà entendu-Effect : The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita / Emilio Sala ; Michael Nyman and the Development of an Art House Musical Aesthetic / Pwyll ap Siôn -- Part II. Music and Narration : The Meaning Beyond the Text. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine / Joan Titus ; Michelangelo Antonioni's Il grido : Its Music and the Pain of Living / Roberto Calabretto -- Part III. Music as Cinematic Metaphor in a Repressed Political System. A Taste of Freedom Behind Closed Doors : Romanian Film Music before the Fall of Communism, 1955-85 / Dominique Nasta ; Echoes of Catastrophe : Music in Films of The Polish School / Iwona Sowińska ; The Soundtrack of the Uncanny : Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975) / Karen Poe Lang."Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation. Through analyses of music and sound in a wide range of iconic films from across Europe, the essays in this book provide a nuanced reconsideration of three core themes: auteur theory, art house film, and national cinema. Chapters written by an international array of contributors focus on case studies of music in the cinema of Carlos Saura, Jean-Pierre Melville, the Polish School, and Romanian cinema of the New Wave, as well as collaborations between directors and composers, including Michelangelo Antonioni and Giovanni Fusco, Federico Fellini and Nino Rota, Leo Arnshtam and Dmitry Shostakovich, and Peter Greenaway and Michael Nyman. The contributors shift the emphasis from a director-centered view to the working relationship between director and composer, and from the visual component to the sonic aspects of these films, without ignoring the close correlation between soundtrack and visual elements. Enriching our understanding of the complex nature of authorship in film, the role of film music, and European cinematic history, this volume offers a valuable addition to research across music and film studies"--Michael Baumgartner is Associate Professor of Musicology, Cleveland State University. Ewelina Boczkowska is Professor of Musicology, Youngstown State University.Description based on online resource; title from digital title page (viewed on January 30, 2023).