Science Fiction Film and Television

This book breaks new ground by exploring music and sound within the Star Trek franchise across decades and media, offering the first sustained look at the role of music in shaping this influential series. The chapters in this edited collection consider how the aural, visual, and narrative components of Star Trek combine as it constructs and deconstructs the utopian and dystopian, shedding new light on the series' political, cultural, and aesthetic impact. Considering how the music of Star Trek defines and interprets religion, ideology, artificial intelligence, and more, while also considering fan interactions with the show's audio, this book will be of interest to students and scholars of music, media studies, science fiction, and popular culture.

A Dimension of Sound: Music in 'The Twilight Zone' focuses on the use of music within the series and offers multiple readings of the ways in which music is used in the series and offers an understanding of the ways in which music-both original and stock-can be used in an anthology television show, this book focuses not only on the ways in which newly composed scores and stock music were utilised in the series, but also how the music enhances and interacts with what we see and hear onscreen.

This book offers an in-depth analysis of Janelle Monaes Dirty Computer, an Afrofuturist project that appeared simultaneously as a concept album and a visual album or emotion picture in spring 2018. In the previous decade, Janelle Monae has developed into a global media personality who effortlessly unites speculative world-building with social and political activism. Across the intersecting album and film that together make up Dirty Computer, Monae brings together the science-fictional themes that informed her previous work, resulting in a powerfully focused artistic and political statement. While the music on the album can be enjoyed as an accessible collection of pop tracks, the accompanying film, music videos, and media paratexts add layers of meaning that combine speculative world-building with anti-racist activism. This unique convergence of energies, ideas, and media platforms has made Dirty Computer a new classic of Afrofuturist science fiction.

Stanley Kubrick's 2001: A Space Odyssey is re-examined in a post-millennial context in this heavily researched, highly detailed study of the making of the landmark film. Its artistic and mythic pedigrees are of special interest. Kubrick and writer Arthur C. Clarke faced a number of challenges in producing an intelligent and innovative A-list movie in what--almost a decade before Star Wars--was considered a second-class genre, science fiction. The author explores the film's enigmatic storyline and offers a fresh perspective on several artistic elements such as production design, special effects and the use of music.

Forbidden Planet is a product of the MGM studio, which at the time of the production of this film was hardly in the business of making science-fiction films. Originally planned as a "B" picture, the 1956 Forbidden Planet was praised for its spectacular special effects and brilliant color cinematography. The text is generously illustrated with transcriptions and graphs, and can serve as a model for the examination of other extended works of electronic music for which no written score has ever existed.

From the triumphant "Main Title" in Star Wars to the ominous bass line of Jaws, John Williams has penned some of the most unforgettable film scores--while netting more than fifty Academy Award nominations. This updated and revised edition of Emilio Audissino's groundbreaking volume takes stock of Williams's creative process and achievements in music composition, including the most recent sequels in the film franchises that made him famous. Audissino discusses Williams's unique approach to writing by examining his neoclassical style in context, demonstrating how he revived and revised classical Hollywood music. This volume details Williams's lasting impact on the industry and cements his legacy as one of the most important composers in movie history. A must for fans and film-music lovers alike.

From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).

Jerry Goldsmith composed seven original scores for The Twilight Zone in 1960 and 1961, all for half hour episodes. Goldsmith originally served as a scripts typist at CBS, eventually working his way up to composer. Goldsmith also went on to score "Planet of the Apes" (1968), "Star Trek the Motion Picture" (1979), "Alien" (1979), "Gremlins" (1984), "Total Recall" (1990),and many more.

Orchestral score of Bernard Herrmann's music from the 1951 film The Day the Earth Stood Still

(Piano Solo Songbook). 9 selections from the original score of this monster blockbuster movie produced by Marvel Studios. Piano solo arrangements of Ludwig Goransson's compositions are included: Ancestral Plane * Glory to Bast * Is This Wakanda? * Killmonger Vs T'Challa * A New Day * Spaceship Bugatti * United Nations/End Titles * Wakanda * Waterfall Fight.