Book
$59.50Out of stock at the UK distributor
Contents
- Acknowledgment
- Introduction: For Ever Metafilm Music
- Chapter 1: Gapped Music in Godard's 1960s Films: Dissection of the Musical Unity as a Self-Reflexive Exercise
- Chapter 2: Leitmotif Technique Revisited: Indexical Function of Multiply Repeated Musical Fragments in Godard's 1960s Films as Manifestations of Metafilm Music
- Chapter 3: The Undoing of the Leitmotif Technique: Quotation, Fragmentation, and Repetition in Godard's 1960s Films with Beethoven, Schumann, and Pseudo-Bach as Metafilm Music
- Chapter 4: Quoting Popular Songs: Chanson and Canzone as Metafilm Music in Godard's Work
- Chapter 5: Referencing Silent Film Music: Metafilm Music, Mise-en-scene, Acting, and Storytelling
- Chapter 6: Referencing Music-Specific Genres and Genre-Specific Music: Metafilm Music, Cinema-en-kit Musical, and Pastiched Film Noir Music
- Chapter 7: Referencing Film Music as a Genre: Metafilm Music, Prototypes of Film Music as Genre Mash-Up, and Melodramatic Commutation
- Chapter 8: Music-Making as Metaphor for Filmmaking i: Metafilm Music in One Plus One and Prenom: Carmen
- Chapter 9: Music-Making as Metaphor for Filmmaking ii: Metafilm Music in Soigne ta droite (Une place sur la terre)
- Conclusion: Two or Three Things I Know about Metafilm Music(s)
- Works Cited
- Index