Pub Date : 2023-07-27DOI: 10.59056/kbzf.2010.6.p124-136
H. Wulff
Ausgehend von der These, dass insbesondere psychologisierende Filmmusik oft in einer changierenden Bedeutungsbeziehung zur Szene und den Figuren steht und dass das Akzeptieren von Musiken als Darstellung der inneren Realität von Figuren auf einem Prozess der Synthese diverser Kontextinformationen beruht, wird ein Modell der Perspektivität der Filmmusik und ihrer damit einhergehenden semantischen Aufladung vorgeschlagen und an einem Beispiel durchgespielt.
{"title":"Arten der Perspektivität und Semantisierung der Musik","authors":"H. Wulff","doi":"10.59056/kbzf.2010.6.p124-136","DOIUrl":"https://doi.org/10.59056/kbzf.2010.6.p124-136","url":null,"abstract":"\u0000\u0000\u0000Ausgehend von der These, dass insbesondere psychologisierende Filmmusik oft in einer changierenden Bedeutungsbeziehung zur Szene und den Figuren steht und dass das Akzeptieren von Musiken als Darstellung der inneren Realität von Figuren auf einem Prozess der Synthese diverser Kontextinformationen beruht, wird ein Modell der Perspektivität der Filmmusik und ihrer damit einhergehenden semantischen Aufladung vorgeschlagen und an einem Beispiel durchgespielt.\u0000\u0000\u0000","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114357720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.59056/kbzf.2011.5.p563-569
Thorsten Ragotzky
{"title":"THE DEVIL AND DANIEL JOHNSTON","authors":"Thorsten Ragotzky","doi":"10.59056/kbzf.2011.5.p563-569","DOIUrl":"https://doi.org/10.59056/kbzf.2011.5.p563-569","url":null,"abstract":"","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125409620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.59056/kbzf.2009.3.p46-56
F. Mundhenke
{"title":"THE EXORCIST (1973) als Beispiel der Relevanz von Filmmusik in genrespezifischer und filmhistorischer Hinsicht","authors":"F. Mundhenke","doi":"10.59056/kbzf.2009.3.p46-56","DOIUrl":"https://doi.org/10.59056/kbzf.2009.3.p46-56","url":null,"abstract":"","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126074297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.59056/kbzf.2010.5.p289-293
Frederike Kiesel, Julia Fendler
{"title":"ONE NIGHT IN PARIS – THE EXCITER TOUR 2001","authors":"Frederike Kiesel, Julia Fendler","doi":"10.59056/kbzf.2010.5.p289-293","DOIUrl":"https://doi.org/10.59056/kbzf.2010.5.p289-293","url":null,"abstract":"","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127206122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.59056/kbzf.2011.5.p501-505
Claus Tieber
Rund 20 Jahre nach MONTEREY POP [1] machten D.A. Pennebaker und Chris Hegedus aus dem 1968 gedrehten Material zwei weitere Filme, in deren Mittelpunkt die Auftritte von Otis Redding und Jimi Hendrix stehen. Beide Shows sind vollständig dokumentiert, die Filme dauern 19 (Redding) bzw. 49 Minuten (Hendrix) und werden sowohl aus inhaltlichen wie aus pragmatischen Gründen zumeist gemeinsam gezeigt. Die beiden Shows heben sich aus unterschiedlichen Gründen vom Rest des Festivals ab – und das nicht nur, weil Redding und Hendrix die beiden einzigen afro-amerikanischen Musiker des Festivals waren. Beide Filme sind in der DVD-Box The Complete Monterey Pop Festival der Criterion Collection (Ausg. 167) enthalten (3 DVDs, USA 2002, kein Regional-Code).
{"title":"Zwei Nachträge zum Monterey Pop Festival: Otis Redding / Jimi Hendrix","authors":"Claus Tieber","doi":"10.59056/kbzf.2011.5.p501-505","DOIUrl":"https://doi.org/10.59056/kbzf.2011.5.p501-505","url":null,"abstract":"Rund 20 Jahre nach MONTEREY POP [1] machten D.A. Pennebaker und Chris Hegedus aus dem 1968 gedrehten Material zwei weitere Filme, in deren Mittelpunkt die Auftritte von Otis Redding und Jimi Hendrix stehen. Beide Shows sind vollständig dokumentiert, die Filme dauern 19 (Redding) bzw. 49 Minuten (Hendrix) und werden sowohl aus inhaltlichen wie aus pragmatischen Gründen zumeist gemeinsam gezeigt. Die beiden Shows heben sich aus unterschiedlichen Gründen vom Rest des Festivals ab – und das nicht nur, weil Redding und Hendrix die beiden einzigen afro-amerikanischen Musiker des Festivals waren. Beide Filme sind in der DVD-Box The Complete Monterey Pop Festival der Criterion Collection (Ausg. 167) enthalten (3 DVDs, USA 2002, kein Regional-Code).","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124903878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.59056/kbzf.2010.6.p51-65
Julie Steimle
Hollywood musicals combine two distinctive features: narrative and musical numbers, also referred to as “the real and the expressive” (Telotte 1980a, 4). These two equally important parts of any successful musical have to harmonize such that both seem appropriate in each scene and, ideally, supportive of each other. As musical numbers are traditionally seen as a “source of a tension” (ibid., 2) within the narrative, harmonization is not easy to achieve, and different directors as well as different sub-genres of the film musical have found different ways to deal with this tension. In this work, I will discuss two methods of integrating musical numbers into the plot of Hollywood musicals: the stage-worlds and the world-stages. While the former entails a certain kind of storyline, the latter refers to the setting of single numbers within the plot.
{"title":"Stage-Worlds and World-Stages in Hollywood Musicals","authors":"Julie Steimle","doi":"10.59056/kbzf.2010.6.p51-65","DOIUrl":"https://doi.org/10.59056/kbzf.2010.6.p51-65","url":null,"abstract":"Hollywood musicals combine two distinctive features: narrative and musical numbers, also referred to as “the real and the expressive” (Telotte 1980a, 4). These two equally important parts of any successful musical have to harmonize such that both seem appropriate in each scene and, ideally, supportive of each other. As musical numbers are traditionally seen as a “source of a tension” (ibid., 2) within the narrative, harmonization is not easy to achieve, and different directors as well as different sub-genres of the film musical have found different ways to deal with this tension. In this work, I will discuss two methods of integrating musical numbers into the plot of Hollywood musicals: the stage-worlds and the world-stages. While the former entails a certain kind of storyline, the latter refers to the setting of single numbers within the plot.","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122702836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.59056/kbzf.2010.5.p446-449
Christoph Krenz
{"title":"U2 3D (2008)","authors":"Christoph Krenz","doi":"10.59056/kbzf.2010.5.p446-449","DOIUrl":"https://doi.org/10.59056/kbzf.2010.5.p446-449","url":null,"abstract":"","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124998551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.59056/kbzf.2010.5.p58-63
Caroline Amann
{"title":"ELIVIS: THATS THE WAY IT IS","authors":"Caroline Amann","doi":"10.59056/kbzf.2010.5.p58-63","DOIUrl":"https://doi.org/10.59056/kbzf.2010.5.p58-63","url":null,"abstract":"","PeriodicalId":446915,"journal":{"name":"Kieler Beiträge zur Filmmusikforschung","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121204731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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