The analysis of film music is emerging as one of the fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study, Deleuze and Film Music also offers a solution—a methodological bridge—that will take film music analysis to a new level.

Gregg Redner is a lecturer in film studies at the University of Western Ontario.

Foreword
    Susan Hayward, Cinema Studies, University of Exeter, UK

Chapter One: Introduction
Chapter Two: Methodology
Chapter Three: Deleuzian Sensation and Maurice Jaubert's Score for L'Atalante
Chapter Four: The Division of the One: Leonard Rosenman and the Score for East of Eden
Chapter Five: Dmitri Shostakovich's Score for Kozinstev's Hamlet
Chapter Six: Fragments of a Life: Becoming-Music/Woman In Kryzysztof Kieslowski's Blue
Chapter Seven: The Changing Conception of Space As a Delineator In Film Score Style: A Comparative Analysis of the Scores for Things to Come and Scott of the Antarctic
Chapter Eight: Conclusion

References
Corpus of Films
Films Cited in Text