TY  - CONF
  - Invited Lectures
  - Kulezic-Wilson, D.
  - 2008
  - March
  - ‘Music in Film: Conventions, Clichés and New Approaches’
  - Author
  - Produced
  - 0
  - ()
  - Music is indisputably one of the most powerful, irreplaceable aspects of film and yet, decades of alternately neglectful and over-exploitative treatment by Hollywood have managed to turn film music into one of the most obvious symbols of mainstream cinema conservatism. Unfortunately, Hollywood scoring conventions and clichés, some of which have been present in cinema since the invention of sound, have not only established the norms of film music employment but also the basis for the theoretical examination of the relationships between music and the moving image. Alternatives to mainstream scoring might not yet have received enough scholarly attention and theoretical coverage, but the increasing presence of the auteur soundtrack in American independent cinema, more frequent long-term collaborations between directors and composers and a growing appreciation of music as an inspiration for creating film in so-called art-house cinema, are indicative not only of changes in the approach to the employment of music in film but also in the process of filmmaking itself.While examining the objectives, ideological backgrounds and aesthetic concerns related to the employment of music in both mainstream and art-house cinema, this seminar will also offer an insight into the basic relationships between music and the moving image.
  - University of Limerick Graduate Seminars
DA  - 2008/03
ER  - 

@misc{V62525707,
   = {Invited Lectures},
   = {Kulezic-Wilson,  D. },
   = {2008},
   = {March},
   = {‘Music in Film: Conventions, Clichés and New Approaches’},
   = {Author},
   = {Produced},
   = {0},
   = {()},
   = {{Music is indisputably one of the most powerful, irreplaceable aspects of film and yet, decades of alternately neglectful and over-exploitative treatment by Hollywood have managed to turn film music into one of the most obvious symbols of mainstream cinema conservatism. Unfortunately, Hollywood scoring conventions and clichés, some of which have been present in cinema since the invention of sound, have not only established the norms of film music employment but also the basis for the theoretical examination of the relationships between music and the moving image. Alternatives to mainstream scoring might not yet have received enough scholarly attention and theoretical coverage, but the increasing presence of the auteur soundtrack in American independent cinema, more frequent long-term collaborations between directors and composers and a growing appreciation of music as an inspiration for creating film in so-called art-house cinema, are indicative not only of changes in the approach to the employment of music in film but also in the process of filmmaking itself.While examining the objectives, ideological backgrounds and aesthetic concerns related to the employment of music in both mainstream and art-house cinema, this seminar will also offer an insight into the basic relationships between music and the moving image.}},
   = {University of Limerick Graduate Seminars},
  source = {IRIS}
}