 |
|
|
Item Details
| Title:
|
MUSIC IN FILMS ON THE MIDDLE AGES
AUTHENTICITY VS. FANTASY |
| By: |
John Haines |
| Format: |
Electronic book text |
| List price:
|
£39.99 |
|
We believe that this item is permanently unavailable, and so we cannot source
it.
|
|
|
|
|
|
| ISBN 10: |
1135927693 |
| ISBN 13: |
9781135927691 |
| Publisher: |
TAYLOR & FRANCIS LTD |
| Pub. date: |
30 October, 2013 |
| Series: |
Routledge Research in Music |
| Pages: |
230 |
| Synopsis: |
This book explores the role of music in the some five hundred feature-length films on the Middle Ages produced between the late 1890s and the present day. Haines focuses on the tension in these films between the surviving evidence for medieval music and the idiomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off-screen to a minstrel singing his song. Medieval film music must be considered in the broader historical context of pre-cinematic medievalisms and of medievalist cinema's main development in the course of the twentieth century as an American appropriation of European culture. The book treats six pervasive moments that define the genre of medieval film: the church-tower bell, the trumpet fanfare or horn call, the music of banquets and courts, the singing minstrel, performances of Gregorian chant, and the music that accompanies horse-riding knights, with each chapter visiting representative films as case studies. These six signal musical moments, that create a fundamental visual-aural core central to making a film feel medieval to modern audiences, originate in medievalist works predating cinema by some three centuries. |
| Illustrations: |
59 Halftones, black and white; 4 Tables, black and white |
| Publication: |
UK |
| Imprint: |
Routledge |
| Returns: |
Non-returnable |
|
|
|
 |
Ramadan and Eid al-Fitr
A celebratory, inclusive and educational exploration of Ramadan and Eid al-Fitr for both children that celebrate and children who want to understand and appreciate their peers who do.
|
|
|
|
|
|
|
|
|
|
|