LEADER 00000cam a2200541Ii 4500 
001    ocn855209538 
003    OCoLC 
005    20160127101135.0 
008    130731t20142014nyuag    b    001 0 eng   
010      2013031012 
019    875868101 
020    9780415824538|q(alkaline paper) 
020    0415824532|q(alkaline paper) 
020    |z9780203798167|q(e-book) 
020    1135022569|q(electronic book) 
020    9781135022563|q(electronic book) 
020    1135022542|q(electronic book) 
020    9781135022549|q(electronic book) 
040    DLC|beng|erda|cDLC|dYDX|dOCLCO|dBTCTA|dYDXCP|dSTF|dOCLCF
       |dOCLCO|dBDX|dCDX|dP4A|dOCLCQ|dWCH 
049    WCHA 
090    ML2075|b.W59 2014 
100 1  Winters, Ben,|d1976-|0https://id.loc.gov/authorities/names
       /n2006068928|eauthor. 
245 10 Music, performance, and the realities of film :|bshared 
       concert experiences in screen fiction /|cBen Winters. 
264  1 New York :|bRoutledge,|c2014. 
264  4 |c©2014 
300    viii, 260 pages :|billustrations, music ;|c24 cm. 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
490 1  Routledge research in music ;|v9 
504    Includes bibliographical references (pages 235-245) and 
       index. 
505 0  Real performers : the musician as actor -- Reel performers
       : fictional music and musicians -- Film and life : the 
       mirror of film -- Moments of desperation and peril : 
       Hollywood and concert performance -- Fantasizing, 
       visualizing, miming : "fictional" listening? -- Hearing 
       symphonies cinematically -- The concert as drama : 
       structuring and shaping narrative -- Film viewed from the 
       podium : music and the ontology of movies. 
520    This book examines the relationship between narrative film
       and reality, as seen through the lens of on-screen 
       classical concert performance. By investigating these 
       scenes, wherein the performance of music is foregrounded 
       in the narrative, Winters uncovers how concert performance
       reflexively articulates music's importance to the ontology
       of film. The book asserts that narrative film of a variety
       of aesthetic approaches and traditions is no mere copy of 
       everyday reality, but constitutes its own filmic reality, 
       and that the music heard in a film's underscore plays an 
       important role in distinguishing film reality from the 
       everyday. As a result, concert scenes are examined as 
       sites for provocative interactions between these two 
       realities, in which real-world musicians appear in 
       fictional narratives, and an audience's suspension of 
       disbelief is problematised. In blurring the musical 
       experiences of onscreen observers and participants, these 
       concert scenes also allegorize music's role in creating a 
       shared subjectivity between film audience and character, 
       and prompt Winters to propose a radically new vision of 
       music's role in narrative cinema wherein musical 
       underscore becomes part of a shared audio-visual space 
       that may be just as accessible to the characters as the 
       music they encounter in scenes of concert performance. 
546    English text. 
650  0 Motion picture music|xHistory and criticism.|0https://
       id.loc.gov/authorities/subjects/sh2008108005 
650  0 Motion picture music|xPhilosophy and aesthetics.|0https://
       id.loc.gov/authorities/subjects/sh2009007382 
650  0 Music|xPerformance.|0https://id.loc.gov/authorities/
       subjects/sh85088806 
650  7 Motion picture music.|2fast|0https://id.worldcat.org/fast/
       1027201 
650  7 Motion picture music|xPhilosophy and aesthetics.|2fast
       |0https://id.worldcat.org/fast/1751716 
650  7 Music|xPerformance.|2fast|0https://id.worldcat.org/fast/
       1030398 
655  7 Criticism, interpretation, etc.|2fast|0https://
       id.worldcat.org/fast/1411635 
830  0 Routledge research in music ;|0https://id.loc.gov/
       authorities/names/no2011187451|v9. 
901    MARCIVE 20231220 
948    |d20160930|clti|tlti-aex 
994    C0|bWCH