Part 1 Music and textual identity: creating a sonic character - non-diegetic sound in the "Mad Max" trilogy-- the violence of sound - "Romper Stomper"-- emotional times - the music of "The Piano"-- avant-garde meets mainstream - the films of Philip Brophy.
Part 2 Musical associations: sound, cinema and Aboriginality-- music and camp - popular music performance in "Priscilla" and "Muriel's Wedding"-- Italo-Australian cinematic soundscapes-- "Shine" - musical narratives and narrative scores.
Part 3 Directors and film music: sound and author/auteurship - music in the films of Peter Weir-- sonic semaphore - music in the films of the Yahoo series-- life in the bush - the orchestration of nature in Australian animated feature films.
Part 4 Film industry: film music costs and copyright-- screen composition in Australia - the work of Martin Armiger-- music for film - a composer's view. Appendix: discography.
(source: Nielsen Book Data)
Provides a series of analyses of the ways in which contemporary Australian cinema has used music in its soundtracks. The text presents individual chapters of films such as "Shine", "The Piano", "Priscilla - Queen of the Desert", "Romper Stomper" and the "Mad Max" trilogy, examining the processes behind the creation, production and consumption of film music scores. Various themes run through the book, including the relationship between film music and narrative; the use of musical themes to enhance characterization; directional style in sound composition; and how sounds, such as the didjeridu, are used to evoke and symbolize Australia. (source: Nielsen Book Data)