عنوان

Music as a Procedural Motive in the Filmmaking of Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson

Number

TL3kx5461s

.Language of Text, Soundtrack etc

انگلیسی

Title Proper

Music as a Procedural Motive in the Filmmaking of Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson

General Material Designation

[Thesis]

First Statement of Responsibility

Tozer, Meghan Joyce

Subsequent Statement of Responsibility

Tcharos, Stefanie

Name of Publisher, Distributor, etc.

UC Santa Barbara

Date of Publication, Distribution, etc.

2016

Body granting the degree

UC Santa Barbara

Text preceding or following the note

2016

Text of Note

In this dissertation, I argue that the late 1990s and early 2000s represent a particularly musical moment for certain emerging American screenwriter-directors who both integrated music throughout their creative processes and framed their preoccupation with music as a way to define themselves as filmmakers. Scholars across disciplines have presented various overlapping criteria by which to group these filmmakers; I analyze the musical aspects that emerge in these groupings without strictly adhering to any one parameter. Specifically, I show how Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson challenge the boundaries between original and pre-existing music, among musical and film genres, and between the very media of music and film. I focus on the collaborations of Darren Aronofsky and former punk front man Clint Mansell on Requiem for a Dream (2000) and Black Swan (2010); Sofia Coppola and punk drummer turned music supervisor Brian Reitzell on The Virgin Suicides (1999) and Lost in Translation (2003); and Paul Thomas Anderson and pop-rock music producer Jon Brion for the scores of Magnolia (1999), which Anderson consistently describes as an "adaptation" of Aimee Mann's songs, and Punch-Drunk Love (2003).

Tozer, Meghan Joyce

Tcharos, Stefanie

UC Santa Barbara

Electronic name

p

[Thesis]

276903

a

Y