Scholarlink

In this set of five case studies, an examination and criticism can be found of Robynn Stilwell's ‘Fantastical Gap’ as applied to Laura (1944), The Witches of Eastwick (1987), and The Sea Hawk (1940); a discussion of Chion's ‘anempathetic effect’ in Hangover Square (1945) and A Clockwork Orange (1971); a look into how songs and lyrics operate in films, with examples from Breaking Bad (2008–2013) and Casablanca (1942); an analysis of how music combines with the other cinematic elements in the opening-title sequences to set the tone for the narrative and prefigure future developments, with examples from classical Hollywood films and a more extended analysis of the opening sequence of The Hateful Eight (2015); a study of the macro-emotive function of the music in The Umbrellas of Cherbourg (1964).

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Five Illustrations of Film/Music Analysis

  • 章节

  • 发表日期：

    2025年

查看全文
  • Emilio Audissino

摘要

In this set of five case studies, an examination and criticism can be found of Robynn Stilwell's ‘Fantastical Gap’ as applied to Laura (1944), The Witches of Eastwick (1987), and The Sea Hawk (1940); a discussion of Chion's ‘anempathetic effect’ in Hangover Square (1945) and A Clockwork Orange (1971); a look into how songs and lyrics operate in films, with examples from Breaking Bad (2008–2013) and Casablanca (1942); an analysis of how music combines with the other cinematic elements in the opening-title sequences to set the tone for the narrative and prefigure future developments, with examples from classical Hollywood films and a more extended analysis of the opening sequence of The Hateful Eight (2015); a study of the macro-emotive function of the music in The Umbrellas of Cherbourg (1964).