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Off the Planet

Off the Planet

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Off the Planet

Music, Sound and Science Fiction Cinema

Copublisher: Perfect Beat Publications

Edited by: Philip Hayward

Publication date: 2004
Total pages: 222
ISBN: 0 86196 644 9
Price: £ 15.00


Description

Over the last decade, music and sound have become an increasingly recognised aspect of film production and film studies. Off The Planet is an important contribution to the work in this field and is targeted at both cinema studies readers and film music students and aficionados. It comprises a stimulating and diverse collection of essays on aspects of music, sound and Science Fiction cinema. Following a detailed historical introduction to the development of sound and music in the genre, individual chapters analyse key films, film series, composers and directors in the post-War era. The first part profiles seminal 1950s productions such as The Day the Earth Stood Still, the first Godzilla film and Forbidden Planet. Later chapters analyse the work of composer John Williams, the career of director David Cronenberg, the Mad Max series, James Cameron’s Terminators and other notable SF films such as Space is the Place, Blade Runner , Mars Attacks! and The Matrix.

Contents

Introduction: Sci Fidelity ? Music, Sound and Genre History Philip Hayward Chapter 1 Hooked on Aetherophonics: The Day The Earth Stood Still, by Rebecca Leydon Chapter 2 Atomic Overtones and Primitive Undertones: Akira Ifukube?s Sound Design for Godzilla, by Shuhei Hosokawa Chapter 3 Forbidden Planet: Effects and Affects in the Electro Avant Garde, by Rebecca Leydon Chapter 4 The Transmolecularisation of [Black] Folk: Space is the Place, Sun Ra and Afrofuturism, by Nabeel Zuberi Chapter 5 Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams? Scores for Star Wars and Close Encounters of the Third Kind, by Neil Lerner Chapter 6 Sound and Music in the Mad Max trilogy, by Rebecca Coyle Chapter 7 ?These are my nightmares?: Music and Sound in the films of David Cronenberg, by Paul Thé?berge Chapter 8 Ambient Soundscapes in Blade Runner, by Michael Hannan and Melissa Carey Chapter 9 ?I?ll be back?: Recurrent sonic motifs in James Cameron?s Terminator films, by Karen Collins Chapter 10 Inter-Planetary Soundclash: Music, Technology and Territorialisation in Mars Attacks!, by Philip Hayward Chapter 11 Mapping The Matrix: Virtual Spatiality and the realm of the perceptual, by Mark Evans

Biography

Philip Hayward is Director of the Centre for Contemporary Music Studies at Macquarie University (Sydney) and an adjunct professor of Southern Cross University (Lismore), attached to the Music Archive for the Pacific.



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