"Music in Horror Film" is a collection of essays that examine the effects of music and its ability to provoke or intensify fear in this particular genre of film. Frightening images and ideas can be made even more intense when accompanied with frightening musical sounds, and music in horror film frequently makes its audience feel threatened and uncomfortable through its sudden s...(展开全部)

Just hearing a few notes from certain songs can bring a movie back to life—whether the Doors’ “The End” from Apocalypse Now, Simon and Garfunkel’s “Mrs. Robinson” in The Graduate, or John Williams’ scores to such blockbusters as Jaws, Star Wars, and Raiders of the Lost Ark. But what is the relationship between film and music—where does the film begin and the music end? Taking o...(展开全部)

A rich and informative look at the experiences of composers working under high pressure in the US film industry, The Hollywood Film Music Reader brings readers from film's earliest days to the modern blockbuster era. Beginning with the origins of movie music in the heyday of silent film, the book traces film music's progress through Hollywood's so-called Golden Age to changes i...(展开全部)

Film music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world. Film Music: A Very Short Introduction is a comp...(展开全部)

Full title: Film music. History, analysis, theory Film and music belong together – as they have done throughout the history of the movie. But what exactly is music used for? Why is it there at all? Film Music answers these and a number of other questions related to the use of music in movies. Peter Larsen describes the development of film music from the first silent films up un...(展开全部)

Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero, who suffers fright but rises to vanquish the forces of oppression. Clover, a medievalist, had written extensively on the literature...(展开全部)

Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book's four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" ...(展开全部)

Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book's four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" ...(展开全部)

Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the materna...(展开全部)