Music and Levels of Narration in Film: Steps across the Border

Contents

• Chapter I :
• Introduction Film Music Narratology i. Laughing with film theory ii. Film/music/narratology The plan of the book A note on the choice of films A note on 'the viewer' iii. Principles of pertinence
• Chapter II : The Conceptual Toolkit: Music and Levels of Narration i. Fictional worlds and the filmic universe ii. The 'historical author': extrafictionality and the title sequence iii. Extrafictional narration and audience address iv. Nondiegetic and die
• Chapter III : Breaking into Song? Hollywood Musicals (and After) i. Supradiegesis ii. Superabundance: Top Hat and the 1930s iii. The classical style: Night and Day, An American in Paris, Singin' in the Rain iv. Transcendence lost and regained: The afterma
• Chapter IV : Things That Go Bump in the Mind: Horror Films i. Of implied authors and implicit contracts: Six little bits of theory ii. ... and thirteen examples
• Chapter V : Beyond the Moment: Long-range Musical Strategies i. Music and memory in Once Upon a Time in America a. Precursor 1: For a Few Dollars More b. Precursor 2: Once Upon a Time in the West c. Precursor 3: Duck, You Sucker! d. 'Most melancholic of f
• Chapter VI : The Future's Not Ours to See: Outlook