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181   $ctxt
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200 10$aDeleuze and film music$b[electronic resource] $ebuilding a methodological bridge between film theory and music /$fby Gregg Redner
210   $aBristol [U.K.] $cIntellect$d2011
215   $a1 online resource (204 p.)
300   $aDescription based upon print version of record.
311   $a1-84150-370-3 
320   $aIncludes bibliographical references (p. 177-186).
327   $aFront Cover; Preliminary Pages; Contents; Foreword; Chapter One: Introduction; Chapter Two: Methodology; Chapter Three: Deleuzian Sensation and Maurice Jaubert's Score for L'Atalante; Chapter Four: The Division of the One: Leonard Rosenman and the Score for East of Eden; Chapter Five: Dmitri Shostakovich's Score for Kozintsev's Hamlet; Chapter Six: Fragments of a Life: Becoming-Music/Woman In Kryzysztof Kieslowski's Blue; Chapter Seven: The Changing Conception of Space As a Delineator In Film Score Style: A Comparative Analysis of the Scores For T; Chapter Eight: Conclusion; References
327   $aCorpus of FilmsFilms Cited In Text
330   $aThe 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
606   $aMotion picture music
606   $aMusic$xPhilosophy and aesthetics
615  0$aMotion picture music.
615  0$aMusic$xPhilosophy and aesthetics.
676   $a781.5
700   $aRedner$b Gregg$01550672
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906   $aBOOK
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996   $aDeleuze and film music$93809644
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