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" Music as a Procedural Motive in the Filmmaking of Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson "
Tozer, Meghan Joyce
Tcharos, Stefanie
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Latin Dissertation
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| Language of Document
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English
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| Record Number
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914300
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TL3kx5461s
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| Main Entry
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Tozer, Meghan Joyce
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| Title & Author
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Music as a Procedural Motive in the Filmmaking of Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson\ Tozer, Meghan JoyceTcharos, Stefanie
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| College
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UC Santa Barbara
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| Date
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2016
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| student score
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2016
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| Abstract
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In this dissertation, I argue that the late 1990s and early 2000s represent a particularly musical moment for certain emerging American screenwriter-directors who both integrated music throughout their creative processes and framed their preoccupation with music as a way to define themselves as filmmakers. Scholars across disciplines have presented various overlapping criteria by which to group these filmmakers; I analyze the musical aspects that emerge in these groupings without strictly adhering to any one parameter. Specifically, I show how Darren Aronofsky, Sofia Coppola, and Paul Thomas Anderson challenge the boundaries between original and pre-existing music, among musical and film genres, and between the very media of music and film. I focus on the collaborations of Darren Aronofsky and former punk front man Clint Mansell on Requiem for a Dream (2000) and Black Swan (2010); Sofia Coppola and punk drummer turned music supervisor Brian Reitzell on The Virgin Suicides (1999) and Lost in Translation (2003); and Paul Thomas Anderson and pop-rock music producer Jon Brion for the scores of Magnolia (1999), which Anderson consistently describes as an “adaptation” of Aimee Mann’s songs, and Punch-Drunk Love (2003).
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Tcharos, Stefanie
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UC Santa Barbara
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