Drawn to Sound: Animation Film Music and Sonicity (GENRE, MUSIC AND SOUND)

Scoring animation film. "Everybody scream!" : Tim Burton's animated gothic-horror musical-comedies / Janet K. Halfyard ; Halas and Batchelor's sound decisions : musical approaches in the British context / Paul Wells ; An animated partnership : Joe Hisaishi's musical contributions to Hayao Miyazaki's films / Kyoko Koizumi -- Musical intertextuality. Something old, something new, something borrowed-- something blue : the Beatles' Yellow submarine / Ian Inglis ; Polar grooves : dance, music and musicality in Happy feet / Philip Hayward ; Minstrelsy and musical framing in Who framed Roger Rabbit? / Neil Lerner ; An aesthetic of ambiguity : musical representation of indigenous peoples in Disney's Brother bear / Janice Esther Tulk -- Music and sonicity. Sonic nostalgia and Les triplettes de Belleville / Daniel Goldmark ; Resilient appliances : sound, image and narrative in The brave little toaster / Jon Fitzgerald and Philip Hayward ; Lupin III and the Gekiban approach : western-styled music in a Japanese format / Kentaro Imada -- Music and industrial contexts. DreamWorking Wallace & Gromit : musical thematics in The curse of the were-rabbit / Rebecca Coyle and Peter Morris ; Cowboy bebop : corporate strategies for animation music products in Japan / Aki Yamasaki ; Disney does Broadway : musical storytelling in The little mermaid and The lion king / Rebecca Coyle and Jon Fitzgerald. Scoring animation film. Everybody scream! : Tim Burton's animated gothic-horror musical-comedies / Janet K. Halfyard ; Halas and Batchelor's sound decisions : musical approaches in the British context / Paul Wells ; An animated partnership : Joe Hisaishi's musical contributions to Hayao Miyazaki's films / Kyoko Koizumi ; The tritone within : interpreting harmony in Elliot Goldenthal's score for Final fantasy : the spirits within / Scott Murphy Musical intertextuality. Something old, something new, something borrowed, something blue : the Beatles' Yellow submarine / Ian Inglis ; Polar grooves : dance, music and musicality in Happy feet / Philip Hayward ; Things are never black as they are painted : minstrelsy and musical framing in Who framed Roger Rabbit? / Neil Lerner ; An aesthetic of ambiguity : musical representation of indigenous peoples in Disney's Brother bear / Janice Esther Tulk Music and sonicity. Sonic nostalgia and Les triplettes de Belleville / Daniel Goldmark ; Resilient appliances : music, sound, image and narrative in The brave little toaster / Jon Fitzgerald & Philip Hayward ; Lupin III and the Gekiban approach : western-styled music in a Japanese format / Kentaro Imada Music and industrial contexts. Dreamworking Wallace & Gromit : creating the music track for The curse of the were-rabbit / Rebecca Coyle & Peter Morris ; Cowboy bebop : corporate strategies for animation music products in Japan / Aki Yamasaki ; Disney does Broadway : musical storytelling in The little mermaid and The lion king / Rebecca Coyle & Jon Fitzgerald. "Animation films are produced around the world and attract sizeable audiences and much critical acclaim. No longer marginalized in genres such as children's or propaganda films, they are increasingly the subject of academic study. At the same time attention has turned to the music and sound, which contribute to both the emotional impact and the narrative drive, as well as the marketing appeal, of such films. This ground-breaking volume bridges these two fields and also positions animation-film sound and music in the context of the screen and music industries. Animation experts like Paul Wells and Daniel Goldmark and film-music authorities including Philip Hayward, Ian Inglis and Janet Halfyard provide international perspectives on the history and aesthetics of music and sound in animation film." "Drawn to Sound focuses on feature-length, widely distributed films released in the period since World War II, from producers in the USA, UK, Japan and France-from Animal Farm (1954) to Happy Feet (2006), Yellow Submarine (1968) to Curse of the Were-Rabbit (2005), Spirited Away (2001) and Les Triplettes de Belleville (2003). It spotlights important studios, including Disney, DreamWorks, Aardman Animation and Studio Ghibli, and composers, both those who collaborate personally with directors and those whose music is used to provide period or mood atmospheres." "Às the first of its kind, this anthology will be an invaluable resource for students, teachers and researchers in film, animation, culture, music and media studies.'"--Jacket.

Animation films are produced around the world and attract sizeable audiences and much critical acclaim. No longer marginalized in genres such as children's or propaganda films, they are increasingly the subject of academic study. At the same time, attention has turned to the music and sound, which contribute to both the emotional impact and the narrative drive, as well as the marketing appeal, of such films. This ground-breaking volume bridges these two fields and also positions animation-film sound and music in the context of the screen and music industries. Animation experts like Paul Wells and Daniel Goldmark and film-music authorities including Philip Hayward, lan Inglis and Janet Halfyard provide international perspectives on the history and aesthetics of music and sound in animation film.

Drawn to Sound focuses on feature-length, widely distributed films released in the period since World War II, from producers in the USA, UK, Japan and France - from Animal Farm (1954) to Happy Feet (2006), Yellow Submarine (1968) to Curse of the Were-Rabbit (2005), Spirited Away (2001) and Les Triplettes de Belleville (2003). It spotlights important studios, including Disney, DreamWorks, Aardman Animation and Studio Ghibli, and composers, both those who collaborate personally with directors and those whose music is used to provide period or mood atmospheres.

Animation films are widely consumed in the general population and the study of animation films has blossomed. But music and sound are often marginalized, despite the significance of music, voice talent, sound design and effects for both the films and their marketing. Drawn to Sound unpacks animation film sound and music tracks, and contextualises them within the screen and music industries. Focusing on feature-length, widely-distributed films released in the post-WW2 period, the book highlights work from key centres of animation production, such as the USA, the UK, Japan, significant studios including Disney, Aardman Animation and Studio Ghibli, and major auteurs like Tim Burton. Chapters by animation experts such as Paul Wells and Daniel Goldmark and by film music authorities including Philip Hayward, Ian Inglis and Janet Halfyard offer international perspectives on the history and aesthetics of music and sound in animation film. Contributions from authors in Japan, Australia, England, the USA and Canada explore animation soundtracks, their creators and their production approaches. Different disciplinary perspectives from music, media, cultural and animation studies offer models for future analysis. As the first of its kind, this anthology is an invaluable resource for students, teachers and researchers in film, animation, music and media studies. Unpacks animation film sound and music tracks, and contextualises them within the screen and music industries. Focusing on feature-length, widely-distributed films released in the post-WW2 period, this book highlights work from key centres of animation production, such as USA, UK and Japan, significant studios including Disney and Studio Ghibli