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001482675 020__ $$a9783031334221$$q(electronic bk.)
001482675 020__ $$a3031334221$$q(electronic bk.)
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001482675 0247_ $$a10.1007/978-3-031-33422-1$$2doi
001482675 035__ $$aSP(OCoLC)1406084661
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001482675 050_4 $$aML2075$$b.P35 2023
001482675 08204 $$a781.542$$223/eng/20231103
001482675 24500 $$aPalgrave handbook of music in comedy cinema$$h[electronic resource] /$$cEmilio Audissino, Emile Wennekes, editors.
001482675 260__ $$aCham :$$bPalgrave Macmillan,$$c2023.
001482675 300__ $$a1 online resource
001482675 500__ $$aIncludes index.
001482675 5050_ $$a1. From Dionysia to Hollywood: An Introduction to Comedys Long (and Bumpy) Road -- 2. Humorous Techniques in Comedic Narratives -- 3. Scoring Laughs: A Meditation on Music and Mirth -- 4. Audiovisual Parallelism and Counterpoint as Strategies of Musical Humour -- 5. The Audiovisual Architecture of Musical Pauses, Punchlines, and Jablines: Paddingtons Punctuation -- 6. The Self-Aware Soundtrack: Film Music as a Metaleptic Device in Comedy Film -- 7. Shes a babe SCHWING!: Feminine Spectacle and Parody in Comedy Film Scoring -- 8. Pop-Rock Authenticity, Intertextuality, and Humour in the Films of Adam McKay and Will Ferrell -- 9. The Man for His Time and Place. Identity, Musical Comedy, and the Compiled Soundtrack in The Big Lebowski -- 10. Mozart in the Kitchen. Musical Reference and the Crisis of Action in Last Action Hero -- 11. The Music Shouldnt Acknowledge Any of the Jokes. Audiovisual Incongruence and the Functions of Music in Contemporary Dark Comedy Films -- 12.Seriously Funny Music: The Use of Serious Music for Comedic Effect -- 13. DJ, Interrupted: Delivering Punchlines with a Record Scratch -- 14. On Being In the Know: When Classical Music Gets Played for Laughs -- 15. Carry On Regardless: The Musical Humour of Eric Rogers -- 16. Musical-Comedic Stereotypes and Cinema. A Case Study of Irish-themed Features, 1946-1952 -- 17. The Paladin of Italian Comedy. Tot and Music -- 18. Mocking Sound: Das Kabinett des Dr. Larifari (1930) as a Parody of Early German Sound Film -- 19. Hubert, you are sooo French!: Musical Pastiche and Parody in Michel Hazanavicius Espionage Comedy Films OSS 117 (2006, 2009) -- 20. From Imperio to Lola: Mapping Comedy in the Tradition of Spanish Folkloric Musicals (1930-1960) -- 21. We Can Sing and Laugh Like Children: Music as Comedy in the Film Musicals of Grigorij Aleksandrov and Isaak Dunaevskij -- 22. Playing with Borders. Film Music and Social Criticism in Swedish Comedies by Hasse and Tage -- 23. Harassing Hogwash Scored with Happy Hardcore: The Ruthless Humour of the Dutch New Kids Films -- 24. On and Beyond Mickey-Mousing: Revisiting Yuan Muzhis Scenes of City Life (1935) -- 25. Overview of Music in Nollywood Comedy Cinema -- 26. Comedy and Parody in the Songs of the Hindi Cinema -- 27. Parody, Commentary, Subversion: Music in Japanese Comedy Cinema -- 28. Music for Tricksters and Music as Trickster in the Classical Hollywood Score -- 29. The Jokes on You: Puns and Punchlines in the Music of the Marx Brothers -- 30. 'Valse Elegante: The Comedic Film Music of Charlie Chaplin -- 31. Jacques Tati and the Musical Construction of the Comedic -- 32. Music for Low Comedy and High Romance: Malcolm Arnolds Score for Hobsons Choice (David Lean, 1954) -- 33. The New King of Comedy: Theodore Shapiro and the New Millennial Comedy Score -- 34. Cut it Out, Cricket: Affective Management through Diegetic Music and Song in Howard Hawkss Comedies and Comic Dramas -- 35. Music, Satire, and Smutna Comedy in the Zbigniew Preisner-Krzysztof Kielowski Collaborations -- 36. Louis de Funs as Gendarme: Comic Incongruity and Self-Reflexive Music in the Golden Age of French Comedies (196480) -- 37. Songs and Scores in the Films of Mel Brooks: The Collaboration with John Morris -- 38. Taking Mancinis Comedy Scores Seriously -- 39. Ennio Morricones Music for La Cage aux folles (1978) -- 40. Irony, Comic, and Humour. The Comedic Sides of John Williams -- 41. Jocular Juxtapositions, Parody, and Ludicrous Lyrics. Music in Monty Pythons Comedy Films -- 42. Music and Comedy in the Films of Woody Allen.
001482675 506__ $$aAccess limited to authorized users.
001482675 520__ $$aWhats been missing from the literature on film music a sustained study of music in the genre of film comedy has now been supplied by Emilio Audissino and Emile Wennekes in a masterful and inclusive anthology devoted to how music makes us laugh. Audissino and Wennekes have taken an interdisciplinary, multidisciplinary, and multinational approach that informs the individual contributions all of which take funny music very seriously. Sure to be the standard reference in the field. - Kathryn Kalinak, Professor of Film Studies, Rhode Island College, US This handbook tackles the understudied relationship between music and comedy cinema by analysing the nature, perception, and function of music from fresh perspectives. Its approach is not only multidisciplinary, but also interdisciplinary in its close examination of how music and other cinematic devices interact in the creation of comedy. The volume addresses gender representation, national identities, stylistic strategies, and employs inputs from cultural studies, musicology, music theory, psychology, cognitivism, semiotics, formal and stylistic film analysis, and psychoanalysis. It is organised in four sections: general introductions, theoretical investigations, music and comedy within national cinemas, and exemplary case studies of films or authors. Emilio Audissino is Associate Professor at Linnaeus University, Sweden. His research interests are film and television history; audio-visual style and techniques; screenwriting; neo formalist film analysis; comedy; horror; and sound and music in media. Notably, he is the author of The Film Music of John Williams. Reviving Hollywood's Classical Style (2021/2014) and of Film/Music Analysis. A Film Studies Approach (2017). Emile Wennekes is Chair Professor of Musicology: Music and Media at Utrecht University, The Netherlands. He is the author of multiple books and edited volumes, as well as some hundred scholarly book chapters, articles, and conference presentations. Among his most recent publications are two co-edited books entitled Advances in Speech and Music Technology (2021; 2023 with a.o. Anupam Biswas). Wennekes chairs the Study Group Music and Media (MaM) of the International Musicological Society. Previously, Audissino and Wennekes edited the volume Cinema Changes: Incorporation of Jazz in the Film Soundtrack (2019).
001482675 588__ $$aDescription based on print version record.
001482675 650_6 $$aFilm, Musique de$$xHistoire et critique.
001482675 650_6 $$aFilms comiques.
001482675 650_0 $$aMotion picture music$$xHistory and criticism.
001482675 650_0 $$aComedy films.$$zUnited States$$xHistory and criticism$$0(DLC)sh2008101231
001482675 650_0 $$aMotion pictures and music.$$zUnited States$$xHistory and criticism$$0(DLC)sh2010102483
001482675 655_0 $$aElectronic books.
001482675 7001_ $$aAudissino, Emilio.
001482675 7001_ $$aWennekes, Emile.
001482675 77608 $$iPrint version:$$z9783031334221
001482675 77608 $$iPrint version:$$z3031334213$$z9783031334214$$w(OCoLC)1376736016
001482675 852__ $$bebk
001482675 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-031-33422-1$$zOnline Access$$91397441.1
001482675 909CO $$ooai:library.usi.edu:1482675$$pGLOBAL_SET
001482675 980__ $$aBIB
001482675 980__ $$aEBOOK
001482675 982__ $$aEbook
001482675 983__ $$aOnline
001482675 994__ $$a92$$bISE