Synopses & Reviews
“A strong original contribution that manages to convey a great deal of information about film music to readers with relatively little knowledge of music. It is likely to be one of the small number of books on sound track issues that will be found on the shelves of anyone seriously interested in cinema.”—Alan Williams, Rutgers University
Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold’s Captain Blood, Max Steiner’s The Informer, Bernard Herrmann’s The Magnificent Ambersons, and David Raksin’s Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams’ The Empire Strikes Back and Basil Poledouris’ RoboCop demonstrate how the traditions of the classical era continue to influence scoring practices today.
Includes bibliographical references (p. 233-239) and index.
About the Author
Kathryn Kalinak is professor of English and film studies at Rhode Island College and has published many articles on film sound.