Music in Epic Film

<p>As both a distinct genre and a particular mode of filmmaking, the idea of the epic has been central to the history of cinema. Including contributions from both established and emerging film music scholars, the ten essays in <i>Music in Epic Film: Listening to Spectacle</i> provide a cross-section of contemporary scholarship on the subject. They explore diverse topics, including the function of music in epic narratives, the socio-political implications of cinematic music, and the use of pre-existing music in epic films. Intended for students and scholars in film music, film appreciation, and media studies, the wide range of topics and the diversity of the films that the authors discuss make <i>Music in Epic Film: Listening to Spectacle</i> an ideal introduction to the field of music in epic film.</p> <p>Series Foreword</p><p>Preface: Epic Genre, Epic Style <i>Stephen C. Meyer</i></p><p>Acknowledgments</p><p><strong>Part I: Marketing and Production</strong></p><p>1. Branding the Franchise: Music and the (Corporate) Myth of Origin <i>James Buhler</i></p><p>2. Manufacturing the Epic Score: Hans Zimmer and the Sounds of Significance <i>Frank Lehman</i></p><p><strong>Part II: Narrative and Interpretation</strong></p><p>3. <i>Topoi</i> and Intertextuality: Narrative Function in Hans Zimmer’s and Lisa Gerrard’s Music to <i>Gladiator </i><i>Joakim Tillman</i></p><p>4. The Politics of Authenticity in Miklós Rózsa's Score to <i>El Cid </i><i>Stephen C. Meyer</i></p><p><strong>Part III: Pre-Existing Music and the Epic Style</strong></p><p>5. From Authenticity to Anachronism: Pre-Existing Music and "Epic Englishness" in <i>Elizabeth </i>and <i>Master and Commander </i><i>Alexandra Wilson</i></p><p>6. Records, Repertoire and <i>Rollerball</i>: Music and the <i>Auteur </i>Epic <i>Julie Hubbert</i></p><p><strong>Part IV: Songs and Themes</strong></p><p>7. "The epic and intimately human": Contemplating Tara’s Theme in <i>Gone With the Wind </i><i>Nathan Platte</i></p><p>8. "We’re the real countries": Songs as Private Musical Territories in the Epic Romances <i>Casablanca, Doctor Zhivago</i>, and<i> The English Patient </i><i>Todd Decker</i></p><p><strong>Part V: Genre and the (Anti-)Epic</strong></p><p>9. Inverting the Epic: The Music of Ridley Scott’s <i>Kingdom of Heaven </i><i>Kirsten Yri</i></p><p>10. The Western as National Epic: Musical Persona and Narrative Distance in <i>High Noon </i><i>Jordan Carmalt Stokes</i></p>