The analysis of film music is emerging as one of the fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study,Deleuze and Film Musicalso offers a solutiona methodological bridgethat will take film music analysis to a new level.
Introduction
Methodology
Deleuzian Sensation and Maurice Jaubert's score for L'Atalante
The Division of the One: Leonard Rosenman and the score for East of Eden
Dmitri Shostakovich's score for Kozintsev's Hamlet
Fragments of a Life: Becoming-music/ woman in Krzysztof Kieslowski's Blue
The changing conception of space as a delineator in film score style: A comparative analysis of the scores for Things to Come and Scott of the Antarctic
Conclusion
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