Music, Authorship, Narration, and Art Cinema in Europe

Part 1: Cinematic Collaborations and the Questioning of the Auteur Style Through Music

1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles

Laura Anderson

2. Palimpsest, Mediation, Deja entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita

Emilio Sala

3. Michael Nyman and the Development of an Art House Musical Aesthetic

Pwyll ap Sion

Part 2: Music and Narration: The Meaning Beyond the Text

4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine

Joan Titus

5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living

Roberto Calabretto

Part 3: Music as Cinematic Metaphor in a Repressed Political System

6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85

Dominique Nasta

7. Echoes of Catastrophe: Music in Films of The Polish School

Iwona Sowinska

8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cria cuervos (1975)

Karen Poe Lang

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• Teoria e crítica de filmes
• Teoria da música e musicologia
• Música opiniões e críticas

auteurism;film music;music and film;directors;music and cinema;european film;film studies;soundtrack;Chopin;Wolfgang Amadeus Mozart;Young Man;Les Enfants Terribles;Art House Films;Mihai Viteazul;Il Grido;Pre-existing Music;Dolce Vita;Nyman's Music;Art Cinema;Long Shots;Nikt Nie;Draughtsman's Contract;Greenaway's Films;Shostakovich's Music;European Art Cinema;Vivaldi's Concerto;Paso Doble;Rota's Music;NATO Nation;Fish Beach;Fife Player;Classical Film Music