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Drawn to Sound

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Animation films are produced around the world and attract sizeable audiences and much critical acclaim. No longer marginalized in genres such as children’s or propaganda films, they are increasingly the subject of academic study. At the same time, attention has turned to the music and sound, which contribute to both the emotional impact and the narrative drive, as well as the marketing appeal, of such films. This ground-breaking volume bridges these two fields and also positions animation-film sound and music in the context of the screen and music industries. Animation experts like Paul Wells and Daniel Goldmark and film-music authorities including Philip Hayward, Ian Inglis and Janet Halfyard provide international perspectives on the history and aesthetics of music and sound in animation film.

Drawn to Sound focuses on feature-length, widely distributed films released in the period since World War II, from producers in the USA, UK, Japan and France – from Animal Farm (1954) to Happy Feet (2006), Yellow Submarine (1968) to Curse of the Were-Rabbit (2005), Spirited Away (2001) and Les Triplettes de Belleville (2003). It spotlights important studios, including Disney, DreamWorks, Aardman Animation and Studio Ghibli, and composers, both those who collaborate personally with director and those whose music is used to provide period or mood atmospheres.

Published: Jun 1, 2010


Section Chapter Authors
Acknowledgements Rebecca † Coyle
About the Authors Rebecca † Coyle
Introduction: Audio Motion: Animating (Film) Sound Rebecca † Coyle
Part I: Scoring Animation Film
1 “Everybody Scream!”: Tim Burton’s Animated Gothic-Horror Musical Comedies Janet K. Halfyard
2 Halas & Batchelor’s Sound Decisions: Musical Approaches in the British Context Paul Wells
3 An Animated Partnership: Joe Hisaishi’s Musical Contributions to Hayao Miyazaki’s Films Kyoko Koizumi
Part II: Musical Intertextuality
4 Something Old, Something New, Something Borrowed… Something Blue: The Beatles’ Yellow Submarine Ian Inglis
5 Polar Grooves: Dance, Music and Musicality in Happy Feet Philip Hayward
6 Minstrelsy and Musical Framing in Who Framed Roger Rabbit Neil Lerner
7 An Aesthetic of Ambiguity: Musical Representation of Indigenous Peoples in Disney’s Brother Bear Janice Esther Tulk
Part III: Music and Sonicity
8 Sonic Nostalgia and Les Triplettes de Belleville Daniel Goldmark
9 Resilient Appliances: Sound, Image and Narrative in The Brave Little Toaster Jon Fitzgerald, Philip Hayward
10 Lupin III and the Gekiban Approach: Western-styled Music in a Japanese Format Kentaro Imada
Part IV: Music and Industrial Contexts
11 DreamWorking Wallace & Gromit: Musical Thematics in The Curse of the Were-Rabbit Rebecca † Coyle, Peter Morris
12 Cowboy Bebop: Corporate Strategies for Animation Music Products in Japan Aki Yamasaki
13 Disney Does Broadway: Musical Storytelling in The Little Mermaid and The Lion King Rebecca † Coyle, Jon Fitzgerald
End Matter
Index Rebecca † Coyle

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‘As the first of its kind, this anthology will be an invaluable resource for students, teachers and researchers in film, animation, culture, music and media studies.’
Rick Altman, Professor Cinema and Comparative Literature, University of Iowa

'The collection as a whole is good, and the four chapters in the "Musical Intertextuality" section are among the most engaging and well written. Given the broad range of animated films considered - included among them a number of familiar blockbusters - this collection would function well as a resource for introductory courses dedicated to music in animated films. Recommended. Lower- and upper-division undergraduates, graduate students, general readers.'
S.C. Pelkey, Western Michigan University, CHOICE, December 2010, Vol. 48, No. 04

'Presents itself as a long-overdue and most welcome addition to the existing scholarship on animation, film, and film music studies, and offers a wealth of information suitable for undergraduate and postgraduate students and academics across a variety of disciplines.'
Áine Mangaoang in Music, Sound and the Moving Image, 5.2, Autumn 2011