Drawn to Sound

Autorentext
Rebecca Coyle has published widely on film music and sound in journals, book chapters and publications including Reel Tracks: Australian Film Music and Cultural Identities (John Libbey, UK). She is currently leading an Australian Research Council grant examining the film music industry, and teaches in the Media program at Southern Cross University, Australia.

Klappentext
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 director and those whose music is used to provide period or mood atmospheres.

Zusammenfassung
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.

Inhalt
INTRODUCTION: Audio Motion: Animating (Film) Sound Studies Rebecca Coyle PART I: SCORING ANIMATION FILM Janet K Halfyard, Birmingham Conservatoire Everybody scream!A" Tim Burton's Animated Gothic-Horror Musical-Comedies Paul Wells, Loughborough University Halas And Batchelor's Sound Decisions: Musical Approaches in the British Context Kyoko Koizumi An Animated Partnership: Joe Hisaishi's Musical Contributions to Hayao Miyazaki's Films Scott Murphy The Tritone Within: Interpreting Harmony in Elliot Goldenthal's Score for Final Fantasy: The Spirits Within PART II: MUSICAL INTERTEXTUALITY Ian Inglis, Northumbria University Something Old, Something New, Something Borrowed - Something Blue: The Beatles' Yellow Submarine Philip Hayward, Macquarie University Polar Grooves: Dance, Music and Musicality in Happy Feet Neil Lerner Things Are Never Black as They Are PaintedA": Minstrelsy and Musical Framing in Who Framed Roger Rabbit? Janice Esther Tulk, Memorial University of Newfoundland An Aesthetic of Ambiguity: Musical Representation of Indigenous Peoples in Disney's Brother Bear PART III: MUSIC AND SONICITY Daniel Goldmark, Case Western Reserve University Sonic Nostalgia and Les Triplettes de Belleville Jon Fitzgerald, Southern Cross University, and Philip Hayward Resilient Appliances: Music, Sound, Image and Narrative in The Brave Little Toaster Kentaro Imada Lupin III and the Gekiban Approach: Western-Styled Music in a Japanese Format PART 4: MUSIC AND INDUSTRIAL CONTEXTS Rebecca Coyle & Peter Morris DreamWorking Wallace & Gromit: Creating the Music Track for The Curse of the Were-Rabbit Aki Yamasaki, Osaka University Cowboy Bebop: Corporate Strategies for Animation Music Products in Japan. Rebecca Coyle & Jon Fitzgerald Disney Does Broadway: Musical Storytelling in The Little Mermaid and The Lion King

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