Robert Altman's soundtracks: film, music, and sound from "M*A*S*H" to "A prairie home companion"
American director Robert Altman (1925-2006) first came to national attention with the surprise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades. Critics and scholars have noted that music is central to Altman's films, and in addition to his fe...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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Oxford University Press
[2014]
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| Schriftenreihe: | Oxford music/media series
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| Online-Zugang: | BSB01 FAW01 FAW02 UBT01 URL des Erstveröffentlichers |
| Zusammenfassung: | American director Robert Altman (1925-2006) first came to national attention with the surprise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades. Critics and scholars have noted that music is central to Altman's films, and in addition to his feature films, Altman worked in theater, opera, and the emerging field of cable television. His treatment of sound is a hallmark of his films, alongside overlapping dialogue, improvisation, and large ensemble casts. Several of his best-known films integrate musical performances into the central plot, including Nashville (1975), Popeye (1980), Short Cuts (1993), Kansas City (1996), The Company (2003) and A Prairie Home Companion (2006), his final film. Even such non-musicals as McCabe and Mrs. Miller (1971) have been described as, in fellow director and protege Paul Thomas Anderson's evocative phrase, as "musicals without people singing." Robert Altman's Soundtracks considers Altman's celebrated, innovative uses of music and sound in several of his most acclaimed and lesser-known works. In so doing, these case studies serve as a window not only into Altman's considerable and varied output, but also the changing film industry over nearly four decades, from the heyday of the New Hollywood in the late 1960s through the "Indiewood" boom of the 1990s and its bust in the early 2000s. As its frame, the book will consider the continuing attractions of auteurism inside and outside of scholarly discourse, by considering Altman's career in terms of the director's own self-promotion as a visionary and artist; the film industry's promotion of Altman the auteur; the emphasis on Altman's individual style, including his use of music, by the director, critics, scholars, and within the industry; and the processes, tensions, and boundaries of collaboration. - Gayle Sherwood Magee is Associate Professor of Musicology at the School of Music, University. (Klappentext) |
| Beschreibung: | 1 Online-Ressource (XIII, 296 Seiten) Illustrationen |
| ISBN: | 9780190205348 |
| DOI: | 10.1093/acprof:oso/9780199915965.001.0001 |
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| spelling | Magee, Gayle Sherwood 1965- Verfasser (DE-588)136582648 aut Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" Gayle Sherwood Magee New York, NY Oxford University Press [2014] 1 Online-Ressource (XIII, 296 Seiten) Illustrationen txt rdacontent c rdamedia cr rdacarrier Oxford music/media series American director Robert Altman (1925-2006) first came to national attention with the surprise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades. Critics and scholars have noted that music is central to Altman's films, and in addition to his feature films, Altman worked in theater, opera, and the emerging field of cable television. His treatment of sound is a hallmark of his films, alongside overlapping dialogue, improvisation, and large ensemble casts. Several of his best-known films integrate musical performances into the central plot, including Nashville (1975), Popeye (1980), Short Cuts (1993), Kansas City (1996), The Company (2003) and A Prairie Home Companion (2006), his final film. Even such non-musicals as McCabe and Mrs. Miller (1971) have been described as, in fellow director and protege Paul Thomas Anderson's evocative phrase, as "musicals without people singing." Robert Altman's Soundtracks considers Altman's celebrated, innovative uses of music and sound in several of his most acclaimed and lesser-known works. In so doing, these case studies serve as a window not only into Altman's considerable and varied output, but also the changing film industry over nearly four decades, from the heyday of the New Hollywood in the late 1960s through the "Indiewood" boom of the 1990s and its bust in the early 2000s. As its frame, the book will consider the continuing attractions of auteurism inside and outside of scholarly discourse, by considering Altman's career in terms of the director's own self-promotion as a visionary and artist; the film industry's promotion of Altman the auteur; the emphasis on Altman's individual style, including his use of music, by the director, critics, scholars, and within the industry; and the processes, tensions, and boundaries of collaboration. - Gayle Sherwood Magee is Associate Professor of Musicology at the School of Music, University. (Klappentext) Altman, Robert / 1925-2006 / Criticism and interpretation Altman, Robert 1925-2006 (DE-588)11850231X gnd rswk-swf Motion picture music / United States / History and criticism Filmmusik (DE-588)4017129-2 gnd rswk-swf USA (DE-588)4006804-3 Biografie gnd-content Altman, Robert 1925-2006 (DE-588)11850231X p Filmmusik (DE-588)4017129-2 s DE-604 Erscheint auch als Druck-Ausgabe 978-0-19-991596-5 https://doi.org/10.1093/acprof:oso/9780199915965.001.0001 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Magee, Gayle Sherwood 1965- Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" Altman, Robert / 1925-2006 / Criticism and interpretation Altman, Robert 1925-2006 (DE-588)11850231X gnd Motion picture music / United States / History and criticism Filmmusik (DE-588)4017129-2 gnd |
| subject_GND | (DE-588)11850231X (DE-588)4017129-2 (DE-588)4006804-3 |
| title | Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" |
| title_auth | Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" |
| title_exact_search | Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" |
| title_full | Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" Gayle Sherwood Magee |
| title_fullStr | Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" Gayle Sherwood Magee |
| title_full_unstemmed | Robert Altman's soundtracks film, music, and sound from "M*A*S*H" to "A prairie home companion" Gayle Sherwood Magee |
| title_short | Robert Altman's soundtracks |
| title_sort | robert altman s soundtracks film music and sound from m a s h to a prairie home companion |
| title_sub | film, music, and sound from "M*A*S*H" to "A prairie home companion" |
| topic | Altman, Robert / 1925-2006 / Criticism and interpretation Altman, Robert 1925-2006 (DE-588)11850231X gnd Motion picture music / United States / History and criticism Filmmusik (DE-588)4017129-2 gnd |
| topic_facet | Altman, Robert / 1925-2006 / Criticism and interpretation Altman, Robert 1925-2006 Motion picture music / United States / History and criticism Filmmusik USA Biografie |
| url | https://doi.org/10.1093/acprof:oso/9780199915965.001.0001 |
| work_keys_str_mv | AT mageegaylesherwood robertaltmanssoundtracksfilmmusicandsoundfrommashtoaprairiehomecompanion |