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Cozarinsky's La guerre d'un seul homme and musical categories : (Re)-framing Pfitzner, Strauss, Schreker, and Schoenberg cinematically (2017)
Book Chapter
Binns, A. (2017). Cozarinsky's La guerre d'un seul homme and musical categories : (Re)-framing Pfitzner, Strauss, Schreker, and Schoenberg cinematically. In N. Attfield, & B. Winters (Eds.), Music, Modern Culture, and the Critical EarTaylor & Francis (Routledge)

The framing of music, especially that of the late nineteenth and early twentieth centuries, is bound up not only with the effects of the two World Wars that (dis)figured the period but also with the discourse on musical value and identity within whic... Read More

'Sounding' Japanese : traditions of music in Japanese cinema (2017)
Book Chapter
Binns, A. (2017). 'Sounding' Japanese : traditions of music in Japanese cinema. In M. Mera, R. Sadoff, & B. Winters (Eds.), The Routledge companion to screen music and sound, 428-439. Taylor & Francis (Routledge)

The cinema of Japan, known as nihon eiga [日本映画] is vast and is not easily encapsulated because of the wide range of cultural practices that have informed its identity, including the music it deployed. And yet, it arguably presents a distinctive s... Read More

Looking and listening : music and sound as visual trope in Ukiyo-e (2011)
Book Chapter
Binns, A. (2011). Looking and listening : music and sound as visual trope in Ukiyo-e. Taylor & Francis (Routledge). doi:10.4324/9780203629987

The word ukiyo-e comes from a combination of “Ukiyo” , which means “floating world,” and “e” , which means picture or image. So, ukiyo-e offer both a description of the world of Edo (present-day Tokyo)—in particular the pleasures, foods, daily life,... Read More

Desiring the diegesis: music and self-seduction in the films of Wong Kar Wai (2008)
Book
Binns, A. (2008). Desiring the diegesis: music and self-seduction in the films of Wong Kar Wai. CineMusic?: constructing the film score, 127 - 140. Cambridge Scholars Publishing

Examines Hong Kong art cinema, especially the work of film director Wong Kar-Wai, as a means of illustrating a use of music in film that puts a strain on the distinctions between diegetic music and its authoritative other, the non-diegetic, which hav... Read More