- The Oxford Handbook of New Audiovisual Aesthetics
- List of Contributors
- About the Companion Website
- Classical Music for the Posthuman Condition
- Beyond Music: Mashup, Multimedia Mentality, and Intellectual Property
- The Audio-Logo-Visual and the Sound of Languages in Recent Film
- The End of Diegesis As We Know It?
- Sounding Out Film
- Audio-Visual Space in an Era of Technological Convergence
- Title Sequences for Contemporary Television Serials
- No Country for Old Music
- Cue the Big Theme? The Sound of the Superhero
- Video Speech in Latin America
- Pixar and the Animated Soundtrack
- Notes on Sound Design in Contemporary Animated Films
- ZigZag: Reanimating Len Lye as Improvised Theatrical Performance and Immersive Visual Music
- The Mutating Musical and the Sound of Music
- Chinese Rock ‘n’ Roll Film and Cui Jian on Screen
- The Neosurrealist Musical and Tsai Ming-Liang’s the Wayward Cloud
- Parties in Your Head: From the Acoustic to the Psycho-Acoustic
- Sensory Aspects of Contemporary Cinema
- The Sound of Intensified Continuity
- Extending Film Aesthetics: Audio Beyond Visuals
- The Audiovisual Construction of Transgender Identity in <i>Transamerica</i>
- Soundscapes of Istanbul in Turkish Film Soundtracks
- Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films
- Music Video’s Second Aesthetic?
- Aesthetics and Hyperembodiment in Pop Videos: Rihanna’s “Umbrella”
- The Emancipation of Music Video: Youtube and the Cultural Politics of Supply and Demand
- Music Video Transformed
- “Betwixt and Between” Worlds: Spatial and Temporal Liminality in Video Art-Music
- Sound Events: Innovation in Projection and Installation
- Contextualizing Game Audio Aesthetics
- Implications of Interactivity: What Does it Mean for Sound to be “Interactive”?
- Multichannel Gaming and the Aesthetics of Interactive Surround
- Sound and Vision: The Audio/Visual Economy of Musical Performance
- Foreground Flatland
- Remaking the Urban: The Audiovisual Aesthetics of Ipod Use
- On Soundscape Methods and Audiovisual Sensibility
- Leaving Something to the Imagination: “Seeing” New Places through a Musical Lens
Abstract and Keywords
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Of the many ways in which the animation production company Pixar differentiated itself from the classic animated shorts and films produced by Disney, the complete shunning of the Disney musical archetype may be the most pronounced. Pixar replaced the musical numbers and dance sequences with montages and flashbacks, scored with either original music or preexisting songs, furthering Pixar’s near-obsession with nostalgia and resurrection of the distant past. Combining unusually nuanced attention to the soundtrack with a longing for bygone popular culture, the Pixar films show a new stage of development for animated films, taking on the stereotype that Hollywood cartoons are for kids. This chapter explores Pixar’s approach to music and the soundtrack to show how advances in sound design, as well as an evolving approach to film scoring taken by veteran Hollywood composers, have brought a new level of complexity and even respectability to the long-maligned animated feature.
Daniel Goldmark is associate professor of music at Case Western Reserve University in Cleveland. 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 (California, 2005).
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