Unsettling Scores: German Film, Music, and Ideology

In his discussion of Fassbinder's Fear Eats the Soul (1974), for instance, he identifies the obscure Jewish composer (and Auschwitz victim) of "Black Gypsy," the diegetic jukebox tune played and, in analyzing Our Hitler, he elucidates Syberberg's pairing of Fidelia, Beethoven...

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Published in:Film Quarterly 2008, Vol.61 (4), p.84-86
Main Author: Flinn, Caryl
Format: Review
Language:English
Subjects:
Flinn, Caryl
German language
Herzog, Werner
Ideology
Motion pictures
Music
Nonfiction
Opera
Politics
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description In his discussion of Fassbinder's Fear Eats the Soul (1974), for instance, he identifies the obscure Jewish composer (and Auschwitz victim) of "Black Gypsy," the diegetic jukebox tune played and, in analyzing Our Hitler, he elucidates Syberberg's pairing of Fidelia, Beethoven's opera about a political prisoner, with the Ninth Symphony. (That focus seems all the more desirable now that Fassbinder's estate is reworking portions of his oeuvre-and Raben's contributions in particular.) Unsettling Scores recalls Dean Duncan's Charms that Soothe (Fordham University Press, 2003), which also explores classical music in cinema, though from a more general, methodological perspective.
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source Art, Design and Architecture Collection; JSTOR Archival Journals and Primary Sources Collection; University of California Press; ProQuest One Literature; Humanities Index
subjects Flinn, Caryl
German language
Herzog, Werner
Ideology
Motion pictures
Music
Nonfiction
Opera
Politics
title Unsettling Scores: German Film, Music, and Ideology
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