Source:University Press of Mississippi,, Jackson, United States, p.1 online resource (2022)
Keywords:(OCoLC)fst00982165, (OCoLC)fst00982204, (OCoLC)fst01027201, (OCoLC)fst01027357, bisacsh, Cinéma, fast, Film, Musique de, Histoire et critique., History and criticism., Jazz, Jazz au cinéma., Jazz in motion pictures., Jazz., Motion picture music, Motion picture music., Motion pictures, MUSIC / Genres & Styles / Jazz, Production and direction, Production and direction., Production et réalisation
Includes bibliographical references and index.Introduction. Jazz goes to the movies -- When strangers meet : structures, tensions, and negotiations in jazz/film collaborations -- "Not a lot of people would go for that" : risk and experimentation in the improvised soundtracks of Birdman and Afterglow -- "Honest, true portrayals" : Terence Blanchard, Spike Lee, and the racial politics of jazz scoring -- "A film director's dream" : Dick Hyman plays the personal for Woody Allen -- Conclusion. Miles ahead : a new way of making movie music?"The first book of its kind, Improvising the Score vividly investigates unique collaborations between contemporary jazz artists and influential film directors, providing a behind-the-scenes look at innovative and integrative jazz-film productions that challenge us to rethink the possibilities of movie music. These in-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sanchez and Alejandro Gonzalez Iñárritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). Grounded in fascinating personal interviews, detailed film production analysis, and examinations of jazz artists' "creative labor" in the context of film production expectations, this book illustrates the dynamic possibilities of integrative artistic collaborations between jazz and film, and more broadly, music and media"--Description based on online resource; title from digital title page (viewed on July 06, 2022).
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