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240903 ||| eng |
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|a 9783031461972
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|a Berner, Elias
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| 245 |
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|a Music in Films about the Shoah
|h Elektronische Ressource
|b Commemoration, Comfort, Provocation
|c by Elias Berner
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| 250 |
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|a 1st ed. 2024
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| 260 |
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|a Cham
|b Palgrave Macmillan
|c 2024, 2024
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| 300 |
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|a XVII, 268 p. 54 illus., 35 illus. in color
|b online resource
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|a Chapter 1: Introduction -- Chapter 2: Cultural Memory Film and Music -- Chapter 3: Commemoration: The Soundtrack of Schindler’s List -- Chapter 4: Comfort: The Pianist and Taking Sides -- Chapter 5: Provocation: Inglourious Basterds -- Chapter 6: Epilogue: The Emotive Stances and Their Reverberations in Contemporary Popular Culture
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| 653 |
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|a World War, 1939-1945
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| 653 |
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|a History of World War II and the Holocaust
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|a Motion pictures
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|a Audio-Visual Culture
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|a eng
|2 ISO 639-2
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| 989 |
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|b Springer
|a Springer eBooks 2005-
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|a Palgrave Studies in Audio-Visual Culture
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|a 10.1007/978-3-031-46197-2
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|u https://doi.org/10.1007/978-3-031-46197-2?nosfx=y
|x Verlag
|3 Volltext
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|a 791.4
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| 520 |
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|a “Elias Berner has written an inspiring and moving book, a study of close listening that re-shapes theories of film music, and entangles them with the ongoing discourse on the memory of the Shoah. What this book thus beautifully brings to the fore is the relational power of music to regulate feelings of distance and closeness with a projected past.” —Thomas Macho, Professor for Cultural Hitory at the Humboldt University of Berlin, Germany. Head/Director of the International Research Center for Cultural Studies University of Art and Design Linz, Austria This book focuses on the aural and musical sphere of fictional audio-visual reconstructions of the Holocaust, a defining event in the history of the 20th century. Musicology has seen an increasing number of works on the function of film music and the construction of identity in media contexts in recent years. This project analyses the use of music in feature films about the Shoah. The analysis of 'the sound of Nazi violence', as well as the escape from and resistance against it, not only reveals a lot about the construction of the filmic characters' emotive states, but also tells us more about our own relationship to the past. The author understands the soundtrack of these films as an affective mediator of time, which connects filmic representations of the past with the present. Analysis focuses on the soundtracks of four films: Schindler's List, The Pianist, Taking Sides and Inglourious Basterds. Elias Berner is a Post-doc Researcher at the University of Music and Performing Arts in Vienna, Austria. In 2020 he obtained his PhD at the Department of Musicology at the University of Vienna. From 2015–2017, he was a Junior Fellow at the International Research Center for Cultural Studies (IFK)
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