190 pages | 14 B/W Illus.
How and why is pre-existing music used in films? What effects can its use have on films and their audiences? And what lasting impact can appropriation have on the music? Reeled In is a comprehensive exploration of these questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, and Herrmann scores alike in films ranging from the early sound era to the present day, and in every role from ‘main title theme’ to ‘music playing in bar’. Incorporating a discussion of such factors as copyright and commerce alongside examination of texts and their effects, this broad study is a significant contribution to the scholarship on music in screen media, demonstrating that pre-existing music possesses unique attributes that can affect both how filmmakers construct their works and how audiences receive them, to an extent regardless of the music’s style, genre, and so on. This book also situates the reception of music by film, and by audiences experiencing that music through film, as significant processes within present-day culture, while more generally providing an illuminating case study of the kinds of borrowings, adaptations, and reinventions that characterize much of today’s art and entertainment.
1. Production contexts and considerations 2. Intention and interpretation 3. Functions of musical reference 4. Post-existing music
The recent proliferation of research about music for film, television, video games, and the Internet—collectively called "screen music"—has resulted in a growing, diverse body of scholarly work that cuts across disciplinary divides, temporal partitions, and geographical boundaries. These studies nevertheless share a common dedication to advancing our understanding of how music interacts with moving images: supporting narrative, creating affect, suspending disbelief, and engaging audiences. The Ashgate Screen Music series dedicates itself to publishing such monographs and edited collections, which reflect the variety of topics and approaches adopted in current screen music scholarship while addressing specific encounters between music and moving images, regardless of medium, genre, time, or place. Our authors rely upon both ear and eye in coming to terms with the social, cultural, and historical meanings embedded within the audiovisual text. While maintaining the highest academic standards of peer-reviewed publication, series volumes also strive to speak to inquisitive readers in general, who wish to inform themselves about the subject under investigation. We hope that our readership will find the individual volumes in the Ashgate Screen Music series rewarding in and of themselves, and exemplary of how the varied themes and methods in screen music research of today can meaningfully and profitably intersect across increasingly porous boundaries.