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In seven richly illustrated chapters and a deft introduction, nine leading music and film scholars revisit the great theme of artistic collaboration from a heretofore unexplored angle: the relationship between film directors and composers in the 'Long Italian Post-War'.
Giorgio Biancorosso is the author of Situated Listening: The Sound of Absorption in Classical Cinema (2016) and Remixing Wong Kar Wai: Music, Bricolage, and the Aesthetics of Oblivion (2024). He is Professor of Music at the University of Hong Kong. Roberto Calabretto is Professor of Music in Audio-Visual Media and Music History at the University of Udine, Italy. His book Lo schermo sonoro. La musica per film (The Sound Screen. Music for Films) (2010), now in its seventh edition, has received widespread critical acclaim and has become a reference work in the field of film music studies.
List of Contributors Acknowledgements Introduction (Giorgio Biancorosso and Roberto Calabretto) Chapter 1 The Conductor as Collaborator in Early Italian Sound Film (Marco Ladd) Chapter 2 Petrassi and LUX Film (Roberto Calabretto) Chapter 3 Gershwin's 'The Man I Love' Reloaded: Antonioni-Fusco's Soundtrack for Cronaca di un Amore (1950) (Dominique Nasta) Chapter 4 The Déjà Oublié-Effect: Rota, 'Gelsomina', and Fellini's La strada (Giorgio Biancorosso) Chapter 5 'The Equation of Liberty': Self-Sufficiency and Expressive Freedom in De Seta's Documentaries of the 1950s (Ilario Meandri and Giulia Ferdeghini) Chapter 6 'Not a Symphony of Its Own': Creative Patterns in the Collaboration between Francesco Rosi and Piero Piccioni (Maurizio Corbella) Chapter 7 Collaboration and/as Bricolage: Petri, Pirro, Volonté and Morricone between Standard Practice and Authentication in the Aftermath of 1968 (Alessandro Cecchi) Chapter 8 The Sound of Madness and Horror: Music and Multiple Authorship in Profondo Rosso (1975) (Emilio Audissino) Index
