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About Emilio Audissino
Emilio Audissino (Linnaeus University, Sweden) is a film scholar and a film musicologist. He holds an M.A. in Film Studies from the University of Turin (IT), one PhD in History of Visual and Performing Arts from the University of Pisa (IT), and one PhD in Film Studies from the University of Southampton (UK). He spent research and study periods in Boston (USA), Paris (FR), and was Visiting Scholar at the University of Wisconsin-Madison (USA). He has taught film history and analysis at the Universities of Genoa (IT), Southampton, West London (UK), UNINT Rome (IT), and Utrecht (NL).
Dr Audissino’s areas of expertise are mainly Hollywood and Italian cinema, and his interests are formalist audiovisual analysis, screenwriting, film style and technique, comedy, horror, and film sound and music. He has published journal articles, book chapters, and encyclopaedia entries on the history and analysis of films, spanning from the silent era to contemporary cinema. He is the author of the monograph *John Williams's Film Music: 'Jaws', 'Star Wars', 'Raiders of the Lost Ark' and the Return of the Classical Hollywood Music Style* (University of Wisconsin Press, 2014, 2nd ed. 2021), the first book-length study in English on the composer, and the editor of the collection of essays *John Williams. Music for Films, Television and the Concert Stage* (Brepols, 2018). His book *Film/Music Analysis. A Film Studies Approach* (Palgrave MacMillan, 2017) concerns a method for audiovisual analysis that blends Neoformalism and Gestalt Psychology. He co-edited, with Emile Wennekes, the volume *Cinema Changes: Incorporations of Jazz in the Film Soundtrack* (Brepols, 2019).
Web Page: https://www.emilioaudissino.eu
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Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williams’s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywood’s Golden Age (1933–58), Emilio Audissino traces the turning points of Williams’s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williams’s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williams’s “neoclassicism” and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition.
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This book offers an approach to film music in which music and visuals are seen as equal players in the game. The field of Film-Music Studies has been increasingly dominated by musicologists and this book brings the discipline back squarely into the domain of Film Studies. Blending Neoformalism with Gestalt Psychology and Leonard B. Meyer's musicology, this study treats music as a cinematic element and offers scholars and students of both music and film a set of tools to help them analyse the wide ranging impact that music has in films.