Deleuze and Film Music

Building a Methodological Bridge between Film Theory and Music

Gregg Redner

Deleuze and Film Music

Gregg Redner

Distributed for Intellect Ltd

194 pages | 15 tables | 7 x 9 | © 2011
Paper $35.50 ISBN: 9781841503707 Published December 2010 Not for sale in the United Kingdom or Europe

The 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 Music also offers a solutiona methodological bridgethat will take film music analysis to a new level.

    Susan Hayward, Cinema Studies, University of Exeter, UK

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 Kozinstev’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 Things to Come and Scott of the Antarctic
Chapter Eight: Conclusion

Corpus of Films
Films Cited in Text
Review Quotes
Susan Hayward | University of Exeter

“In this wonderful study of music scoring for film, Gregg Redner turns to the philosopher Gilles Deleuze to seek a way in which to talk about music as a part of the mise-en-scène. Up until now, there have been two fundamental and somewhat opposing approaches to film scoring—the one emanating from musicologists, the other from specialists in film studies. Neither seemed to satisfy the needs of the other and certainly neither was able to fully explain what happens to music in film nor, indeed, what music causes to happen within film. Redner sets out to find a way of bridging these two opposing approaches and, in doing so, he offers us a new and fresh way to understand film music. Written with intellectual grace and scholarly elegance, these analyses of selected films will incite readers to revisit them with a new eye and ear.”

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