THE CAMBRIDGE COMPANION TO FILM MUSIC THIS WIDE-RANGING AND THOUGHT- PROVOKING COLLECTION OF SPECIALLY COMMISSIONED ESSAYS PROVIDES A UNIQUELY COMPREHENSIVE OVERVIEW OF THE MANY AND VARIOUS WAYS IN WHICH MUSIC FUNCTIONS IN FILM SOUNDTRACKS. CITING EXAMPLES FROM A VARIETY OF HISTORICAL PERIODS, GENRES AND FILM INDUSTRIES – INCLUDING THOSE OF THE USA, UK, FRANCE, ITALY, INDIA AND JAPAN – THE BOOK’S CONTRIBUTORS ARE ALL LEADING SCHOLARS AND PRACTITIONERS IN THE FIELD. THEY ENGAGE, SOMETIMES PROVOCATIVELY, WITH NUMEROUS STIMULATING ASPECTS OF THE HISTORY, THEORY AND PRACTICE OF FILM MUSIC IN A SERIES OF LIVELY DISCUSSIONS WHICH WILL APPEAL AS MUCH TO NEWCOMERS TO THIS FASCINATING SUBJECT AS TO SEASONED FILM- MUSIC AFICIONADOS. INNOVATIVE RESEARCH AND FRESH INTERPRETATIVE PERSPECTIVES ARE OFFERED ALONGSIDE PRACTICE-BASED ACCOUNTS OF THE FILM COMPOSER’S DISTINCTIVE ART, WITH EXAMPLES CITED FROM GENRES AS CONTRASTING AS ANIMATION, THE SCREEN MUSICAL, FILM NOIR, HOLLYWOOD MELODRAMA, THE POP-MUSIC AND JAZZ FILM, DOCUMENTARY, PERIOD DRAMA, HORROR, SCIENCE FICTION AND THE WESTERN. teaches film music, jazz, twentieth-century music PROFESSOR MERVYN COOKE and composition at the University of Nottingham. He has edited The Cambridge Companion to Benjamin Britten (1999), The Cambridge Companion to Jazz (2002, co-edited with David Horn) and The Cambridge Companion to Twentieth-Century Opera (2005). He has also published A History of Film Music (Cambridge University Press, 2008) and The Hollywood Film Music Reader (2010), and co-edited volumes 3–6 of Letters from a Life: The Selected Letters of Benjamin Britten (2004–2012). completed her doctoral thesis on The Film Music of Edmund DR FIONA FORD Meisel (1894–1930) at the University of Nottingham and has wide experience of researching contemporaneous original scores for silent film and early scores for sound films. She has written a book chapter on Edmund Meisel for The Sounds of the Silents in Britain: Voice, Music and Sound in Early Cinema Exhibition (2012, ed. Julie Brown and Annette Davison) and a chapter on The Wizard of Oz for Melodramatic Voices: Understanding Music Drama (2011, ed. Sarah Hibberd). THE CAMBRIDGE COMPANION TO FILM MUSIC Edited by Mervyn Cooke and Fiona Ford University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107094512 © Cambridge University Press 2016 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2016 Printed in the United Kingdom by TJ International Ltd. Padstow Cornwall A catalogue record for this publication is available from the British Library. Library of Congress Cataloging-in-Publication Data Cooke, Mervyn. | Ford, Fiona. The Cambridge companion to film music / edited by Mervyn Cooke and Fiona Ford. Cambridge, United Kingdom : Cambridge University Press, [2016] | Includes bibliographical references and index. LCCN 2016026629 | ISBN 9781107094512 LCSH: Motion picture music – History and criticism. LCC ML2075 .C3545 2016 | DDC 781.5/42–dc23 LC record available at https://lccn.loc.gov/2016026629 ISBN 978-1-10709451-2 Hardback ISBN 978-1-107-47649-3 Paperback ISBN 978-1-107-47649-3 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. In memory of Sergio Miceli 1944–2016 Contents List of Figures List of Music Examples List of Tables Notes on Contributors Acknowledgements Introduction Mervyn Cooke and Fiona Ford Part One Making Film Music 1 Evolving Practices for Film Music and Sound, 1925–1935 James Buhler and Hannah Lewis 2 ‘Pictures That Talk and Sing’: Sound History and Technology David Cooper 3 The Composer and the Studio: Korngold and Warner Bros. Ben Winters 4 Can’t Buy Me Love? Economic Imperatives and Artistic Achievements in the British Pop-Music Film Stephen Glynn 5 ‘A Film’s First Audience’: The Composer’s Role in Film and Television George Fenton in conversation with Mervyn Cooke Part Two Approaching Film Music 6 Film-Music Theory Guido Heldt 7 Studying Film Scores: Working in Archives and with Living Composers Kate Daubney 8 Returning to Casablanca Peter Franklin 9 Parental Guidance Advised? Mash-Ups and Mating Penguins in Happy Feet Fiona Ford 10 Materializing Film Music Miguel Mera Part Three Genre and Idiom 11 Film Noir and Music David Butler 12 Another Other History of Jazz in the Movies Krin Gabbard 13 Horror and Science Fiction Stan Link 14 The Western Robynn J. Stilwell 15 The Music of Screen Musicals Caryl Flinn 16 ‘Britannia – The Musical’: Scores, Songs and Soundtracks in British Animation Paul Wells Part Four Music in World Cinemas 17 Leone, Morricone and the Italian Way to Revisionist Westerns Sergio Miceli 18 Music, Noise and Silence in the Late Cinema of Jean-Luc Godard Danae Stefanou 19 Hans Werner Henze and The Lost Honour of Katharina Blum Annette Davison 20 Tōru Takemitsu’s Collaborations with Masahiro Shinoda: The Music for Pale Flower, Samurai Spy and Ballad of Orin Timothy Koozin