Drawn to Sound: Animation Film Music and Sonicity

271 Pages·2010·2.22 MB·English

by  Rebecca Coyle

Introduction i
Drawn to Sound
ii Drawn to sound
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Series editor: Mark Evans, Macquarie University, Sydney
Over the last decade screen soundtrack studies has emerged as a lively area of research
and analysis mediating between the fields of cinema studies, musicology and cultural
studies. It has deployed a variety of cross-disciplinary approaches to illuminate an area
of film’s audio-visual operation that was neglected for much of the late twentieth
century. This new series extends the field by addressing the development of various
popular international film genres in the post-war era (1945–present), analysing the variety
and shared patterns of music and sound use that characterize each genre.
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Terror Tracks: Music, Sound and Horror Cinema
Edited by Philip Hayward
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Earogenous Zones: Sound, Sexuality and Cinema
Edited by Bruce Johnson
Fantasy, Cinema, Sound and Music
Edited by Janet K. Halfyard
Sounding Funny: Sound and Comedy Cinema
Edited by Mark Evans
Introduction iii
Drawn to Sound
Animation Film Music and Sonicity
Edited by
Rebecca Coyle
iv Drawn to sound
First published in 2010 by
UK: Equinox Publishing Ltd, 1 Chelsea Manor Studios, Flood Street, London, SW35SR
USA: DBBC, 28 Main Street, Oakville, CT 06779
www.equinoxpub.com
© Rebecca Coyle 2010
All rights reserved. No part of this publication may be reproduced or transmitted in any
form or by any means, electronic or mechanical, including photocopying, recording or
any information storage or retrieval system, without prior permission in writing from the
publishers.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN 978 1 84553 352 6 (paperback)
Library of Congress Cataloging-in-Publication Data
Drawn to sound: animation film music and sonicity / edited by Rebecca Coyle.
p. cm. — (Genre, music and sound)
Includes bibliographical references (p. ) and index.
ISBN 978-1-84553-352-6 (pb)
1. Motion picture music—History and criticism. 2. Animated films. I. Coyle,
Rebecca. ML2075.D73 2010
781.5’42—dc22
2009021280
Typeset by S.J.I. Services, New Delhi
Printed and bound in Great Britain by Lightning Source UK Ltd, Milton Keynes
Introduction v
Contents
Acknowledgements vii
About the Authors ix
Introduction: Audio Motion: Animating (Film) Sound 1
Rebecca Coyle
Part I: Scoring Animation Film
1 “Everybody Scream!”: Tim Burton’s Animated Gothic-Horror
Musical Comedies 25
Janet K. Halfyard
2 Halas & Batchelor’s Sound Decisions: Musical Approaches in the
British Context 40
Paul Wells
3 An Animated Partnership: Joe Hisaishi’s Musical Contributions to
Hayao Miyazaki’s Films 60
Kyoko Koizumi
Part II: Musical Intertextuality
4 Something Old, Something New, Something Borrowed… Something
Blue: The Beatles’ Yellow Submarine 77
Ian Inglis
5 Polar Grooves: Dance, Music and Musicality in Happy Feet 90
Philip Hayward
6 Minstrelsy and Musical Framing in Who Framed Roger Rabbit 104
Neil Lerner
7 An Aesthetic of Ambiguity: Musical Representation of Indigenous
Peoples in Disney’s Brother Bear 120
Janice Esther Tulk
vvii DCoranwtenn ttso sound
Part III: Music and Sonicity
8 Sonic Nostalgia and Les Triplettes de Belleville 141
Daniel Goldmark
9 Resilient Appliances: Sound, Image and Narrative in
The Brave Little Toaster 160
Jon Fitzgerald and Philip Hayward
10 Lupin III and the Gekiban Approach: Western-styled Music in a
Japanese Format 174
Kentaro Imada
Part IV: Music and Industrial Contexts
11 DreamWorking Wallace & Gromit: Musical Thematics in
The Curse of the Were-Rabbit 191
Rebecca Coyle and Peter Morris
12 Cowboy Bebop: Corporate Strategies for Animation Music Products
in Japan 209
Aki Yamasaki
13 Disney Does Broadway: Musical Storytelling in The Little Mermaid and
The Lion King 223
Rebecca Coyle and Jon Fitzgerald
Index 249
Introduction vii
Acknowledgements
Thanks are due to the following individuals and institutions:
All the authors who allowed themselves to be persuaded into the project, submitted
inspiring essays, and stuck with it through to the end. Series editor Mark Evans, and
Equinox editor Sandra Margolies, editorial assistant Suzie Khamis and various Equinox
staff, plus anonymous chapter readers and referees. Kerry Drumm, Events and Exhibi-
tions at Aardman Animations Ltd for provision of research materials. Macquarie Univer-
sity PhD student Christoforo Garigliano for translation assistance. Library assistance at
AFI, AFTRS and SCU, and particularly the document supply staff, SCU library. My
colleagues in the Media program and technical officers (especially Rodney Douglass) in
the School of Arts and Social Sciences for various assistances. Additional individuals
are named in relation to various chapters.
Thanks to my daughters Rosa and Amelia for those constant updates on the latest
cool anime and animation images and sounds. This book would not have been possible
without the loving guidance, knowledgeable input and patient tolerance of my husband,
Phil. Thanks for letting it take up so much space in your life.
viii Drawn to sound
Introduction ix
About the Authors
RRRRReeeeebbbbbeeeeeccccccccccaaaaa CCCCCoooooyyyyyllllleeeee teaches in the Media Program at Southern Cross University, Australia,
and has edited two anthologies on Australian cinema soundtracks, Screen Scores
(1998) and Reel Tracks (2005). She is currently researching film music production
within an Australian Research Council funded project, is Research Director for the
School of Arts and Social Sciences, and has recently edited a special issue of Animation
Journal (published 2009).
JJJJJooooonnnnn FFFFFiiiiitttttzzzzzgggggeeeeerrrrraaaaalllllddddd teaches in the contemporary music programme at Southern Cross
University, Australia. He has previously written on a variety of musical and screen sound
topics and he is the author of Popular Music Theory and Musicianship (1999/2003).
He is also an experienced performer and composer.
DDDDDaaaaannnnniiiiieeeeelllll GGGGGooooollllldddddmmmmmaaaaarrrrrkkkkk is Associate Professor of music at Case Western Reserve University
in Cleveland, Ohio. He is the series editor of the Oxford Music/Media Series, and is
the author and/or editor of several books on animation, film, and music, including Tunes
for ’Toons: Music and the Hollywood Cartoon (2005).
JJJJJaaaaannnnneeeeettttt KKKKK..... HHHHHaaaaalllllfffffyyyyyaaaaarrrrrddddd is Director of Undergraduate Studies at Birmingham City University
Conservatoire. Her publications include Danny Elfman’s Batman: A Film Score Guide
(2004), an edited volume on Luciano Berio’s Sequenzas (2007), and a wide range of
essays on music in film and cult televison.
PPPPPhhhhhiiiiillllliiiiippppp HHHHHaaaaayyyyywwwwwaaaaarrrrrddddd is Director of Research Training at Southern Cross University, Aus-
tralia and an adjunct professor in the Department of Media, Music and Cultural Studies
at Macquarie University, Sydney. His previous screen sound books include Off the
Planet: Music, Sound and Science Fiction Cinema (2005) and Terror Tracks: Music,
Sound and Horror Cinema (2009).
KKKKKeeeeennnnntttttaaaaarrrrrooooo IIIIImmmmmaaaaadddddaaaaa is a research fellow in the Kyoto City University of Arts Research
Centre for Japanese Traditional Music. He completed his doctorate at Osaka University,
with a study of incidental music for silent film. His entry on film and animation music
in Japan appears in the Garland Encyclopedia of World Music: East Asia – China, Japan
and Korea (2001).
IIIIIaaaaannnnn IIIIInnnnngggggllllliiiiisssss is Reader in Popular Music Studies at Northumbria University, Newcastle
upon Tyne. His books include The Beatles, Popular Music and Society (2000), Popular