We'll Meet Again: Musical Design in the Films of Stanley Kubrick (Oxford Music / Media)

Unique and often startling encounters between music and the moving image in the films of Stanley Kubrick are trademarks of his style; witness the powerful effects of Strauss's "Also Sprach Zarathustra" in 2001: A Space Odyssey and of Beethoven's 9th Symphony in A Clockwork Orange, each excerpt vetted by Kubrick himself. We'll Meet Again argues that, for Kubrick, music is neither post-production afterthought nor background nor incidental, but instead is core to films' effects and meanings. The book first identifies the building blocks in Kubrick's sonic world and illuminates the ways in which Kubrick uses them to support his characters and to define character relationships. It then delves into the effects of Kubrick's signature musical techniques, including the use of texture, form, and inscription to render and reinforce psychological ideas and spectator responses. Finally it presents case studies that show how the history of the music plays a vital and dynamic role for the films. As a whole, the book locates Kubrick as a force in music reception history by examining the relationship between his musical choices and popular culture, and reveals the foundational role of music in his filmmaking. (Klappentext) Cover 1 Contents 8 List of Illustrations 10 Acknowledgments 14 Introduction 16 PART ONE: THE ANATOMY OF THE KUBRICK SOUNDSCAPE 20 1. Language, Lyrics, Voice, and Sound 22 2. Drawing Lines and Crossing Borders: Musical Climates, the Diegetic-Nondiegetic Border, and Voice-Over Narration 53 PART TWO: MUSIC-CINEMATIC TOPICS 78 3. Mysterious Music with Invisible Edges and the Emergence of Musical Form in The Shining 80 4. Reimagining Music in Barry Lyndon 102 PART THREE: WE’VE MET BEFORE: FAMILIAR PIECES AND THEIR HISTORIES 122 5. The Mutual Inscription of Music and Drama 124 6. Strains of Transcendence in 2001: A Space Odyssey 143 7. Musical Dialectics and the More Troublesome Beethoven 178 8. Kubrick’s Spin on Max Ophüls and the Ineluctable Waltz 192 coda 215 Notes 222 Select Bibliography 236 Index 242 A 242 B 242 C 243 D 243 E 244 F 244 G 244 H 244 I 245 J 245 K 245 L 245 M 246 N 247 O 247 P 247 Q 247 R 247 S 248 T 249 U 249 V 249 W 249 Z 250 Though The Films Of Stanley Kubrick Have Long Been Recognized For Their Innovation, Visual Impact, And Challenging Subject Matter, They Also Feature Unique And Provocative Uses Of Music That Define Kubrick's Work And That Have Made A Lasting Impact On Filmmaking And Multimedia More Broadly. 'we'll Meet Again' Takes The Position That, For Kubrick, Music Is Absolutely Central To The Themes, Visual Designs, And Meanings In The Films. 'we'll Meet Again' Traces Ways In Which Music Assumes An Important Place For Kubrick Throughout The Working Process And In The Reception Of The Films As Well. Kate Mcquiston. Includes Bibliographical References (pages 221-225) And Index. We'll Meet Again illuminates music's central role in the design and reception of Stanley Kubrick's films. It brings together archival evidence and close analysis to trace the ways music serves as starting point and inspiration throughout Kubrick's working process.