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Comment Disney nous a-t-il dotés des oreilles de Mickey ? Des Trois Petits Cochons (1933) à La Reine des Neiges (2013), le succès des films et des chansons des studios Disney est international et traverse plusieurs générations. Le cinéma est l'un des médias qui a le plus investi nos vies, tant parce qu'il les traduit par la fiction que parce qu'il nous réunit collectivement dans les salles ou dans nos foyers. Cet ouvrage décrit les modalités de la constitution du voir et de l'entendre cinématographiques au travers du "cas" Disney. Univers qualifié de merveilleux, magique ou enchanté, le monde musical de Disney se laisse saisir par les discours des spectateurs de cinéma. Ils ont grandi avec ces musiques emblématiques qui sont devenues des tubes qui précèdent ou prolongent leur expérience devant le film [4e de couv.]
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"Miyazaki Hayao's beloved animated film, My Neighbor Totoro (1988), expresses nostalgia for both an innocent past and a distant home, sentiments greatly enhanced by Joe Hisaishi's music"--
Animated film music --- History and criticism. --- Hisaishi, Jō, --- Tonari no Totoro (Motion picture)
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Animated film music --- Animated films --- Animals in motion pictures --- History and criticism --- Animated cartoons (Motion pictures) --- Animated videos --- Cartoons, Animated (Motion pictures) --- Motion picture cartoons --- Moving-picture cartoons --- Caricatures and cartoons --- Motion pictures --- Abstract films --- Animation (Cinematography) --- Animation cels --- Music for animated films --- Motion picture music --- Animals in moving-pictures --- Animated film music - History and criticism
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This handbook fills a substantial gap in the international academic literature on animation at large, on music studies, and on the aural dimensions of Japanese animation more specifically. It offers a unique contribution at the intersection between music and popular culture studies on the one hand, and research on Japanese animated productions (often called ‘anime’) as popular art forms and formats of entertainment, on the other. The book is designed as a reference work consisting of an organic sequence of theory-grounded essays on the development of music, sounds, and voices in Japanese animation for cinema and television since the 1930s. Each chapter deals with a phase of this history, focusing on composers and performers, films, series, and genres used in the soundtracks for animations made in Japan. The chapters also offer valuable interviews with prominent figures of music in Japanese animation, as well as chapter boxes clarifying specific aspects.
Anime (Motion pictures) --- Anime (Television programs) --- Sound in motion pictures. --- Animated film music --- Animated television music --- Mass media. --- Science --- Animated films. --- Culture --- Media Sociology. --- Science and Technology Studies. --- Animation. --- Sound Studies. --- Cultural Studies. --- Social aspects. --- Study and teaching.
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In the first in-depth examination of music written for Hollywood animated cartoons of the 1930's through the 1950's, Daniel Goldmark provides a brilliant account of the enormous creative effort that went into setting cartoons to music and shows how this effort shaped the characters and stories that have become embedded in American culture. Focusing on classical music, opera, and jazz, Goldmark considers the genre and compositional style of cartoons produced by major Hollywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischer's. Tunes for 'Toons discusses several well-known cartoons in detail, including What's Opera, Doc?, the 1957 Warner Bros. parody of Wagner and opera that is one of the most popular cartoons ever created. Goldmark pays particular attention to the work of Carl Stalling and Scott Bradley, arguably the two most influential composers of music for theatrical cartoons. Though their musical backgrounds and approaches to scoring differed greatly, Stalling and Bradley together established a unique sound for animated comedies that has not changed in more than seventy years. Using a rich range of sources including cue sheets, scores, informal interviews, and articles from hard-to-find journals, the author evaluates how music works in an animated universe. Reminding readers of the larger context in which films are produced and viewed, this book looks at how studios employed culturally charged music to inspire their stories and explores the degree to which composers integrated stylistic elements of jazz and the classics into their scores.
Animated film music --- Animated films --- Music for animated films --- Motion picture music --- History and criticism. --- 20th century american film history. --- 20th century animation history. --- american culture. --- animation. --- carl stalling. --- cartoon opera. --- cartoons. --- classical music. --- cue sheets. --- entertainment industry. --- film studies. --- golden age of animation. --- hollywood animated cartoons. --- hollywood animation studios. --- jazz. --- lantz. --- mgm. --- music and animation. --- music studies. --- music. --- musicality. --- opera. --- popular music. --- scott bradley. --- silly symphonies. --- swing culture. --- the fleischers. --- theatrical cartoons. --- warner bros. --- whats opera doc.
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