| Record ID | marc_columbia/Columbia-extract-20221130-017.mrc:18200424:3158 |
| Source | marc_columbia |
| Download Link | /show-records/marc_columbia/Columbia-extract-20221130-017.mrc:18200424:3158?format=raw |
LEADER: 03158cam a2200385 a 4500
001 8095449
005 20221201054150.0
008 100730s2010 nyua bq 001 0 eng
010 $a 2010032624
020 $a9781844572106 (pbk.)
020 $a1844572102 (pbk.)
020 $a9781844572090(hbk.)
020 $a1844572099
024 $a40018418209
035 $a(OCoLC)ocn613433801
035 $a(OCoLC)613433801
035 $a(NNC)8095449
035 $a8095449
040 $aDLC$cDLC$dBTCTA$dYDXCP$dC#P$dBWK$dBWX$dNNC$dOrLoB-B
042 $apcc
050 00 $aML410.R82$bD94 2010
082 00 $a781.5/42092$222
100 1 $aDyer, Richard,$d1945-$0http://id.loc.gov/authorities/names/n81143802
245 10 $aNino Rota :$bmusic, film, and feeling /$cRichard Dyer.
260 $aNew York :$bPalgrave Macmillan on behalf of the British Film Institute,$c2010.
300 $a226 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references, filmography, and index.
505 00 $g1.$tTales of Plagiarism And Pastiche -- $g2.$tNino Rota: Life, Works and Times -- $g3.$tIronic Attachment -- $g4.$tComedy -- $g5.$tFellini.
520 1 $a"Nino Rota is one of the most important composers in the history of cinema. Both popular and prolific, he wrote some of the most cherished and memorable of all film music---for The Godfather Parts I and II, The Leopard, the Zeffirelli Shakespeares, nearly all of Fellini and for more than 140 popular Italian movies. Yet his music does not quite work in the way that we have come to assume music in film works: it does not seek to draw us in and identify, nor to overwhelm and excite us. In itself, in its pretty but reticent melodies, its at once comic and touching rhythms, and in its relation to what's on screen, Rota's music is close and affectionate towards characters and events but still restrained, not detached but ironically attached." "In this major new study of Rota's film career, Richard Dyer gives a detailed account of Rota's aesthetic, suggesting it offers a new approach to how we understand both film music and feeling and film more broadly. He also provides a first full account in English of Rota's life and work, linking it to notions of plagiarism and pastiche, genre and convention, irony and narrative. Rota's practice is related to some of the major ways music is used in film, including the motif, musical reference, underscoring and the difference between diegetic and non-diegetic music, revealing how Rota both conforms to and undermines standard conceptions. In addition, Dyer considers the issue of gay cultural production, Rota's favourite genre, comedy, and his productive collaboration with the director Foderico Fellini."--BOOK JACKET.
600 10 $aRota, Nino,$d1911-1979.$tMotion picture music.$0http://id.loc.gov/authorities/names/n2010026847
650 0 $aMotion picture music$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008108005
710 2 $aBritish Film Institute.$0http://id.loc.gov/authorities/names/n80075864
852 00 $boff,mus$hML410.R82$iD94 2010