| Description |
1 online resource (257 pages) |
| Contents |
Cover; Title; Copyright; Dedication; Contents; Series Foreword; Preface: Epic Genre, Epic Style; Acknowledgments; Part I Marketing and Production; 1 Branding the Franchise: Music, Opening Credits, and the (Corporate) Myth of Origin; 2 Manufacturing the Epic Score: Hans Zimmer and the Sounds of Significance; Part II Narrative and Interpretation; 3 Topoi and Intertextuality: Narrative Function in Hans Zimmer's and Lisa Gerrard's Music to Gladiator; 4 The Politics of Authenticity in Miklós Rózsa's Score to El Cid; Part III Pre-Existing Music and the Epic Style |
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5 From Authenticity to Anachronism: Pre-Existing Music and "Epic Englishness" in Elizabeth and Master and Commander6 Records, Repertoire and Rollerball: Music and the Auteur Epic; Part IV Songs and Themes; 7 "The Epic and Intimately Human": Contemplating the Tara Theme in Gone With the Wind; 8 "We're the Real Countries": Songs as Private Musical Territories in the Epic Romances Casablanca, Doctor Zhivago, and The English Patient; Part V Genre and the (Anti- )Epic; 9 Inverting the Epic: The Music of Ridley Scott's Kingdom of Heaven |
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10 The Western as National Epic: Musical Persona and Narrative Distance in High NoonContributors; Index |
| Notes |
Print version record |
| Form |
Electronic book
|
| ISBN |
9781317425861 |
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1317425863 |
|
