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001 978-3-031-46197-2
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020 _a9783031461972
_9978-3-031-46197-2
024 7 _a10.1007/978-3-031-46197-2
_2doi
050 4 _aPN1993-1999
072 7 _aAP
_2bicssc
072 7 _aJFC
_2bicssc
072 7 _aPER004000
_2bisacsh
072 7 _aAT
_2thema
072 7 _aJBCC
_2thema
100 1 _aBerner, Elias.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
_982287
245 1 0 _aMusic in Films about the Shoah
_h[electronic resource] :
_bCommemoration, Comfort, Provocation /
_cby Elias Berner.
250 _a1st ed. 2024.
264 1 _aCham :
_bSpringer Nature Switzerland :
_bImprint: Palgrave Macmillan,
_c2024.
300 _aXVII, 268 p. 54 illus., 35 illus. in color.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 1 _aPalgrave Studies in Audio-Visual Culture,
_x2634-6362
505 0 _aChapter 1: Introduction -- Chapter 2: Cultural Memory Film and Music -- Chapter 3: Commemoration: The Soundtrack of Schindler’s List -- Chapter 4: Comfort: The Pianist and Taking Sides -- Chapter 5: Provocation: Inglourious Basterds -- Chapter 6: Epilogue: The Emotive Stances and Their Reverberations in Contemporary Popular Culture.
520 _a“Elias Berner has written an inspiring and moving book, a study of close listening that re-shapes theories of film music, and entangles them with the ongoing discourse on the memory of the Shoah. What this book thus beautifully brings to the fore is the relational power of music to regulate feelings of distance and closeness with a projected past.” —Thomas Macho, Professor for Cultural Hitory at the Humboldt University of Berlin, Germany. Head/Director of the International Research Center for Cultural Studies University of Art and Design Linz, Austria This book focuses on the aural and musical sphere of fictional audio-visual reconstructions of the Holocaust, a defining event in the history of the 20th century. Musicology has seen an increasing number of works on the function of film music and the construction of identity in media contexts in recent years. This project analyses the use of music in feature films about the Shoah. The analysis of 'the sound of Nazi violence', as well as the escape from and resistance against it, not only reveals a lot about the construction of the filmic characters' emotive states, but also tells us more about our own relationship to the past. The author understands the soundtrack of these films as an affective mediator of time, which connects filmic representations of the past with the present. Analysis focuses on the soundtracks of four films: Schindler's List, The Pianist, Taking Sides and Inglourious Basterds. Elias Berner is a Post-doc Researcher at the University of Music and Performing Arts in Vienna, Austria. In 2020 he obtained his PhD at the Department of Musicology at the University of Vienna. From 2015–2017, he was a Junior Fellow at the International Research Center for Cultural Studies (IFK).
650 0 _aMotion pictures.
_958496
650 0 _aWorld War, 1939-1945.
_967816
650 1 4 _aAudio-Visual Culture.
_966660
650 2 4 _aHistory of World War II and the Holocaust.
_967818
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783031461965
776 0 8 _iPrinted edition:
_z9783031461989
776 0 8 _iPrinted edition:
_z9783031461996
830 0 _aPalgrave Studies in Audio-Visual Culture,
_x2634-6362
_982288
856 4 0 _uhttps://doi.org/10.1007/978-3-031-46197-2
912 _aZDB-2-LCM
912 _aZDB-2-SXL
999 _c62432
_d62432