عنوان

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

شماره

TL3kx5461s

زبان متن نوشتاري يا گفتاري و مانند آن

انگلیسی

عنوان اصلي

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

نام عام مواد

[Thesis]

نام نخستين پديدآور

Tozer, Meghan Joyce

نام ساير پديدآوران

Tcharos, Stefanie

نام ناشر، پخش کننده و غيره

UC Santa Barbara

تاریخ نشرو بخش و غیره

2016

کسي که مدرک را اعطا کرده

UC Santa Barbara

امتياز متن

2016

متن يادداشت

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).

مستند نام اشخاص تاييد نشده

Tozer, Meghan Joyce

مستند نام اشخاص تاييد نشده

Tcharos, Stefanie

مستند نام تنالگان تاييد نشده

UC Santa Barbara

نام الکترونيکي

فرمت انتشار

p

نوع ماده

[Thesis]

کد کاربرگه

276903

سطح دسترسي

a

تكميل شده

Y