Korngold's merry men
<p xmlns:etd="http://www.ouls.ox.ac.uk/ora/modsextensions">This study examines the critical issue of artistic 'collaboration' in the Hollywood studio system as it relates to the composition of a film score. It suggests what a postmodern critical edition of the score to The...
| Main Authors: | , |
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| Other Authors: | |
| Format: | Thesis |
| Language: | English |
| Published: |
2006
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| Subjects: |
| _version_ | 1826295716913348608 |
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| author | Winters, B Winters, Benjamin |
| author2 | Franklin, P |
| author_facet | Franklin, P Winters, B Winters, Benjamin |
| author_sort | Winters, B |
| collection | OXFORD |
| description | <p xmlns:etd="http://www.ouls.ox.ac.uk/ora/modsextensions">This study examines the critical issue of artistic 'collaboration' in the Hollywood studio system as it relates to the composition of a film score. It suggests what a postmodern critical edition of the score to The Adventures of Robin Hood (Warner Bros., 1938) might look like and, through an engagement with poststructuralist thought, exposes the collaborative reality of its authorship, both in production and reception. The epilogue places the study in a wider scholarly context, assessing its possible impact on the emerging discipline of film musicology and upon current debates within musicology.</p> <p xmlns:etd="http://www.ouls.ox.ac.uk/ora/modsextensions">Chapter 1 discusses theoretical approaches to authorship and their application both to Hollywood studio era cinema and film music of the same period. It proposes an alternative conceptual framework to the work-concept when thinking about the film score, bringing film musicology more in line with trends in film studies. Chapter 2 is a theoretical discussion of the problems inherent in producing a postmodern critical edition of a film score, suggesting some possible solutions. Chapter 3 takes an indepth look at the circumstances surrounding the production of the score for The Adventures of Robin Hood, beginning with a detailed description of the sources (both manuscript and audio-visual), followed by a discussion of the 'origin' of some of the music contained within, and concluding with a 'reconstruction' of the score's production process. Chapter 4 comprises a discussion of musical meaning in the cinema and a 'reading' of a cue from the film that is dependent on the existence of the critical edition found in the appendices; the reading uses a methodology adapted from Roland Barthes's work of literary criticism, S/Z. The appendices include four edited cues from The Adventures of Robin Hood, complete with accompanying editorial apparatus.</p> |
| first_indexed | 2024-03-07T04:05:20Z |
| format | Thesis |
| id | oxford-uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36c |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-07T04:05:20Z |
| publishDate | 2006 |
| record_format | dspace |
| spelling | oxford-uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36c2022-03-27T06:34:41ZKorngold's merry menThesishttp://purl.org/coar/resource_type/c_db06uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36cMotion picture musicArtistic collaborationEnglishPolonsky Theses Digitisation Project2006Winters, BWinters, BenjaminFranklin, P<p xmlns:etd="http://www.ouls.ox.ac.uk/ora/modsextensions">This study examines the critical issue of artistic 'collaboration' in the Hollywood studio system as it relates to the composition of a film score. It suggests what a postmodern critical edition of the score to The Adventures of Robin Hood (Warner Bros., 1938) might look like and, through an engagement with poststructuralist thought, exposes the collaborative reality of its authorship, both in production and reception. The epilogue places the study in a wider scholarly context, assessing its possible impact on the emerging discipline of film musicology and upon current debates within musicology.</p> <p xmlns:etd="http://www.ouls.ox.ac.uk/ora/modsextensions">Chapter 1 discusses theoretical approaches to authorship and their application both to Hollywood studio era cinema and film music of the same period. It proposes an alternative conceptual framework to the work-concept when thinking about the film score, bringing film musicology more in line with trends in film studies. Chapter 2 is a theoretical discussion of the problems inherent in producing a postmodern critical edition of a film score, suggesting some possible solutions. Chapter 3 takes an indepth look at the circumstances surrounding the production of the score for The Adventures of Robin Hood, beginning with a detailed description of the sources (both manuscript and audio-visual), followed by a discussion of the 'origin' of some of the music contained within, and concluding with a 'reconstruction' of the score's production process. Chapter 4 comprises a discussion of musical meaning in the cinema and a 'reading' of a cue from the film that is dependent on the existence of the critical edition found in the appendices; the reading uses a methodology adapted from Roland Barthes's work of literary criticism, S/Z. The appendices include four edited cues from The Adventures of Robin Hood, complete with accompanying editorial apparatus.</p> |
| spellingShingle | Motion picture music Artistic collaboration Winters, B Winters, Benjamin Korngold's merry men |
| title | Korngold's merry men |
| title_full | Korngold's merry men |
| title_fullStr | Korngold's merry men |
| title_full_unstemmed | Korngold's merry men |
| title_short | Korngold's merry men |
| title_sort | korngold s merry men |
| topic | Motion picture music Artistic collaboration |
| work_keys_str_mv | AT wintersb korngoldsmerrymen AT wintersbenjamin korngoldsmerrymen |