We'll Meet Again: Musical Design in the Films of Stanley by Kate McQuiston

By Kate McQuiston

Precise and sometimes startling encounters among track and the relocating photo within the movies of Stanley Kubrick are logos of his variety; witness the robust results of Strauss's "Also Sprach Zarathustra" in 2001: an area Odyssey and of Beethoven's ninth Symphony in A Clockwork Orange, each one excerpt vetted via Kubrick himself. We'll Meet back argues that, for Kubrick, track is neither post-production afterthought nor historical past nor incidental, yet in its place is center to films' results and meanings. The e-book first identifies the construction blocks in Kubrick's sonic international and illuminates the ways that Kubrick makes use of them to help his characters and to outline personality relationships. It then delves into the results of Kubrick's signature musical ideas, together with using texture, shape, and inscription to render and strengthen mental rules and spectator responses. eventually it provides case experiences that exhibit how the historical past of the tune performs an important and dynamic function for the flicks. As a complete, the ebook locates Kubrick as a strength in tune reception background by way of reading the connection among his musical offerings and pop culture, and divulges the foundational position of track in his filmmaking.

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By Kate McQuiston

Precise and sometimes startling encounters among track and the relocating photo within the movies of Stanley Kubrick are logos of his variety; witness the robust results of Strauss's "Also Sprach Zarathustra" in 2001: an area Odyssey and of Beethoven's ninth Symphony in A Clockwork Orange, each one excerpt vetted via Kubrick himself. We'll Meet back argues that, for Kubrick, track is neither post-production afterthought nor historical past nor incidental, yet in its place is center to films' results and meanings. The e-book first identifies the construction blocks in Kubrick's sonic international and illuminates the ways that Kubrick makes use of them to help his characters and to outline personality relationships. It then delves into the results of Kubrick's signature musical ideas, together with using texture, shape, and inscription to render and strengthen mental rules and spectator responses. eventually it provides case experiences that exhibit how the historical past of the tune performs an important and dynamic function for the flicks. As a complete, the ebook locates Kubrick as a strength in tune reception background by way of reading the connection among his musical offerings and pop culture, and divulges the foundational position of track in his filmmaking.

Show description

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Extra info for We'll Meet Again: Musical Design in the Films of Stanley Kubrick (Oxford Music/Media Series)

Sample text

Sound becomes the primary tool that carves Freudian lack into the story, and the uncanny timing and persistent participation of everyday sounds creates the impression that forces are somehow stacked against Bill. Since the invention of the telephone, films have attested to the importance of telephony in the cinematic imagination, showing it to have an irresistible and often dangerous magic. Several of Alfred Hitchcock’s films depend on the telephone for crucial scenes, as do more recent films including The Matrix and Inception, the latter bringing back the romance of the rotary dial in a sort of dream machine.

35 The novelty pop songs in Full Metal Jacket go a long way in establishing a particular kind of tone for the film—a psychological climate. ” One may speculate about whether Oliver Stone’s Platoon, released six months before Full Metal Jacket, effected a change in musical direction. Emotionally moving music in the haircut scene might have fostered sympathy and pathos—something “Hello Vietnam” also accomplishes—but would have mythified the characters somewhat as well. Stone’s famous use of a string orchestra arrangement of Samuel Barber’s Adagio in his film temporarily removes the violent scenes and their significance in the drama from its setting.

In addition to the music in his movie Barry Lyndon, Kubrick tackled music from another angle by prescribing that a record be played in the theater between portions of the film. 37 A numbered list of details follows about changeover times for reels, running lengths of sections, aspect ratio, and lambert parameters. The item most relevant to the present subject is number 10, which reads: Hopefully, you have been supplied with an LP record or tape of the film score. a) Please use Side 1 for the pre-film music.

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