From Chaplin’s brilliant use of Wagner in The Gold Rush to the Bach chorale closing Scorsese’s Casino, classical music has played a fascinating role in movies.
Dean
Duncan provides a fresh critical survey of the aesthetics of classical
music in film. Exploring tensions between high art and commercial
culture, Duncan examines how directors quote themes and classical
passages in genres ranging from the Soviet avant garde to Hollywood
romances. Drawing on film theory, musicology, and cultural criticism, he
clarifies the connections between two very different art forms.
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