This book is a major new study - dealing with notions of film music as a device that desires to control its audience, using a most powerful thing: emotion. The author emphasises the manipulative and ephemeral character of film music dealing not only with traditional orchestral film music, but also looks at film music's colonisation of television, and discusses pop music in relation to films, and the historical dimensions to ability to possess audiences that have so many important cultural and aesthetic effects. It challenges the dominant but limited conception of film music as restricted to film by looking at its use in television and influence in the world of pop music and the traditional restriction of analysis to 'valued' film music, either from 'name' composers' or from the 'golden era' of Classical Hollywood. Focusing on areas as diverse as horror, pop music in film, ethnic signposting, television drama and the soundtrack without a film- this is an original study which expands the range of writing on the subject.
Kevin Donelly is Lecturer in the Department of Theatre, Film and Television at the University of Wales. Aberystwyth. He is the author of Pop Music in British Cinema: A Chronicle (BFI, 2001) and editor of Film Music: Critical Approaches (Edinburgh University Press, 2001)
1 Foreword and Introduction 2 The Demon of Film Music 3 The Anti-Matter of Film Music 4 The Accented Voice: Ethnic Signposts in Film Music 5 Demonic Possession: Horror Genre Film Music 6 Television Music: Music for Television Drama 7 Television Music: Pop Music's Colonisation of Television 8 Soundtracks Without Films 9 Conclusion and Postscript