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Cinema Changes: Incorporations of Jazz in the Film Soundtrack
Utrecht University, Netherlands.
University of Southampton, UK. (IMS)ORCID iD: 0000-0002-7607-399x
2019 (English)Collection (editor) (Other academic)
Sustainable development
Not refering to any SDG
Abstract [en]

Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new “multimedia” art form, soon incorporating music as one of cinema’s privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music — in various form and with diverse and changing racial/social connotations — appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level.

Table of Contents:

Emile Wennekes – Emilio Audissino, Prologue: A Reel Jazz Survey

1) Rendition / Reception

Emile Wennekes, Out of Tune? Jazz, Film and the Diegesis

Phillip Johnston, Jazzin’ the Silents: Jazz and Improvised Musicnin Contemporary Scores for Silent Film

Luca Stoll, Cinema: A Privileged Way of Acquiring Intimacy with Jazz Standards

Marida Rizzuti, Play, My Fiddle, Play! Jazz and Klezmer at the End of the 1930s

Randall Cherry, Ethel Waters and the Search for Racial Redemption

2) Jazz and National Cinemas

Emilio Audissino, The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study

Nicolas Pillai, Rhythms of the Everyday: an Alternative History of the British Jazz Film

Philippe Gonin, Jazz and Cinema: Which Jazz for Which Movies in France from 1945 to the early 1960s?

Julio Arce – Celsa Alonso, From the Chotis to the Charleston: Jazz in Spanish Films prior to the Civil War

Roberto Calabretto, Jazz Music in Michelangelo Antonioni’s Films

Willem Strank, When Jazz Meets German Cinema: A Brief Overview

Jason R. Hillebrand, A Song Helps Us Live: The Narrative Function of Jazz in the Soviet Musical Film Jolly Fellows

3) Case Studies

Francesco Finocchiaro – Leo Izzo, The Sound of the Nightmares: On the Jazz Music in Fritz Lang’s Metropolis

Ryan Patrick Jones, Dignity in the Twilight of Minstrelsy — Race, Nuance, and Aspiration in Duke Ellington’s Symphony in Black: A Rhapsody of Negro Life

Adam Biggs, The Blues and Dissonance in Michelangelo Antonioni’s Blow-Up

Armando Ianniello, Umiliani, Trovajoli, and Rota: The Jazz Film Score of Boccaccio ’70

Marcel Bouvrie, Synergetic Jazz Score: The Narrative of the Relation between the Diegetic and Non-Diegetic Music in Whiplash

Mervyn Cooke, ‘The Same Goddamn Songs the Same Goddamn Way’?: Makin’ Whoopee with The Fabulous Baker Boys

Abstracts

Biographies 

Index of Names

Place, publisher, year, edition, pages
Turnhout: Brepols, 2019. , p. 334
Series
Speculum musicae (SMUS), E-ISSN 2295-5607 ; 4
Keywords [en]
jazz; film music; cinema; ethnicity; representation
National Category
Musicology Studies on Film
Research subject
Humanities, Musicology; Humanities, Film Studies; Humanities, Visual Culture
Identifiers
URN: urn:nbn:se:lnu:diva-101781ISBN: 9782503584478 (print)OAI: oai:DiVA.org:lnu-101781DiVA, id: diva2:1540376
Available from: 2021-03-29 Created: 2021-03-29 Last updated: 2022-01-26Bibliographically approved

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CiteExportLink to record
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Citation style
  • apa
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