Präexistente Musik im Film
Titel: | Präexistente Musik im Film |
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Verfasser: | |
Veröffentlicht: | Munich : Edition Text + Kritik, 2022 |
Umfang: | 1 Online-Ressource (287 p.) |
Format: | E-Book |
Sprache: | Deutsch |
ISBN: | 9783967077582 |
alg: 51436390 001A $06055:29-12-23 001B $01999:30-12-23 $t23:05:37.000 001D $06055:29-12-23 001U $0utf8 001X $00 002@ $0Oax 002C $aText $btxt $2rdacontent 002D $aComputermedien $bc $2rdamedia 002E $aOnline-Ressource $bcr $2rdacarrier 003@ $0514363908 004A $A978-3-96707-758-2 007I $0doab-handle/20.500.12854/128454 009Q $S0 $uhttps://directory.doabooks.org/handle/20.500.12854/128454 $xH 010@ $ager 011@ $a2022 013D $RWissenschaftliche Literatur $#Dissertations, Academic $#Thèses et écrits académiques $74113937-9 $8Hochschulschrift [Ts1] $9085338818 017B $aZDB-94-OAB 021A $aPräexistente Musik im Film 028A $aRudolph $BVerfasser $dPascal $4aut 033A $pMunich $nEdition Text + Kritik 033E $pThe Hague $nOAPEN FOUNDATION 034D $a1 Online-Ressource (287 p.) 037I $2cc $uhttps://creativecommons.org/licenses/by-nc-nd/4.0/ 037J $aOpen Access $qDOAB $2star $uhttps://purl.org/coar/access_right/c_abf2 $fUnrestricted online access 044A $aThe arts $2bicssc $S#7 $N650 044A $amusic $S## $N653 044A $aLars von Trier $S## $N653 044K $#Trier, Lars $#Lars Von Trier $#Trier, Lars fon $7119409070 $8Trier, Lars$cvon$Z1956- [Tp1] $9087748827 044K $RFunktionale Musik $RMusikfilm $#Motion picture music $#Musique de film $#Musica per cinema $#Música para cine $#Filmmusik $#Soundtrack $#Film Funktionale Musik $74017129-2 $8Filmmusik [Ts1] $9085040053 045E $c791 $c780 047A $aSacherschließung maschinell aus paralleler Ausg. übernommen 047I $aFrom the end of the world with Richard Wagner's "Tristan and Isolde" to the vocal performance of a Björk sentenced to death on the gallows to Johann Sebastian Bach's organ music as an explanatory model for hypersexuality: as strange as Lars von Trier's cinema may seem, it offers a wide range of opportunities to reflect on a musical phenomenon that shapes a large part of today's art and entertainment world. Lars von Trier's films mainly feature music that existed before the films. On the one hand, such pre-existing music has a distinct life of its own; on the other, something new emerges from the cinematic appropriation. Using the example of one of the most influential directors of our time, Pascal Rudolph examines how filmmakers adapt music and how this creates meanings and effects. Based on unpublished production material and insider interviews, this book is the first to offer detailed insights into the work on Lars von Trier's film projects in particular, but also into the working processes of film music design in general. The study does justice to the musical diversity in the films through its multi-perspective and transdisciplinary approach. In this way, the ten chapters shed light on the interaction between music and film from different angles. 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