Music and Movies Essays: Samurai in Film ..

NOTE: There was a long and lengthy copyright flag on this video that caused big headaches. Ultimately the video has unfortunately been brute-force edited for the last two minutes because of this. The original is available at vimeo:

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Hans Zimmer is sometimes written off as someone who writes music that's just loud and bombastic. I think there's more to him than that. In this video essay, I show how he plays with time to create depth and meaning in the contemporary Hollywood environment.

This video was made by Dan Golding:

For educational purposes only.

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ARE YOU AN ACADEMIC? Do you want to cite a scholarly version of this argument? I am presenting a paper at the 'Superheroes and Me' conference on this topic on 8 December 2016:

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The first video to point out the link between Inception and Non, Je Ne Regret Rien is here:

I also need to credit the excellent Film Music Notes blog (read it if you like this stuff!) for first pointing out the similarities between Zimmer's Man of Steel theme and Williams' Superman:

Archival footage:

The Buggles - Video Killed the Radio Star:
Hans Zimmer talks The Dark Knight Rises:
Hans Zimmer: the making of Interstellar:
Hans Zimmer - Live On Tour 2017 | Trailer:
Hans Zimmer - Making Of INCEPTION:

Film excerpts from:

All That Heaven Allows, Douglas Sirk, 1955
The Searchers, John Ford, 1956
Vivre Sa Vie, Jean-Luc Godard, 1962
2001: A Space Odyssey, Stanley Kubrick, 1968
Superman, Richard Donner, 1978
Cinema Paradiso, Giuseppe Tornatore, 1988
Batman, Tim Burton, 1989
In The Mood For Love, Wong Kar-Wai, 2000
Memento, Christopher Nolan, 2000
La Vie en Rose, Olivier Dahan, 2007
Inception, Christopher Nolan, 2010
The Dark Knight Rises, Christopher Nolan, 2012
Man of Steel, Zack Snyder, 2013
Interstellar, Christopher Nolan, 2014

All films and music owned by their respective rights holders.

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Free signup required to download or reading online Music in Contemporary Indian Film book. Music in Contemporary Indian Film: Memory, Voice, Identity provides a rich and detailed look into the unique dimensions of music in Indian film. Music is at the center of Indian cinema, and India’s film music industry has a far-reaching impact on popular, folk, and classical music across the subcontinent and the South Asian diaspora. In twelve essays written by an international array of scholars, this book explores the social, cultural, and musical aspects of the industry, including both the traditional center of "Bollywood" and regional film-making. Concentrating on films and songs created in contemporary, post-liberalization India, this book will appeal to classes in film studies, media studies, and world music, as well as all fans of Indian films.