Drawn to Sound

Animation films are widely consumed in the general population and the study of animation films has blossomed. But music and sound are often marginalized, despite the significance of music, voice talent, sound design and effects for both the films and their marketing. Drawn to Sound unpacks animation film sound and music tracks, and contextualizes them within the screen and music industries. Focusing on feature-length, widely-distributed films released in the post-WW2 period, the book highlights work from key centers of animation production, such as the USA, the UK, Japan, significant studios including Disney, Aardman Animation and Studio Ghibli, and major auteurs like Tim Burton. Chapters by animation experts such as Paul Wells and Daniel Goldmark and by film music authorities including Philip Hayward, Ian Inglis and Janet Halfyard offer international perspectives on the history and aesthetics of music and sound in animation film. Contributions from authors in Japan, Australia, England, the USA and Canada explore animation soundtracks, their creators and their production approaches. Different disciplinary perspectives from music, media, cultural and animation studies offer models for future analysis. As the first of its kind, this anthology is an invaluable resource for students, teachers and researchers in film, animation, music and media studies.

Animation films are widely consumed in the general population and the study of animation films has blossomed. But music and sound are often marginalized, despite the significance of music, voice talent, sound design and effects for both the films and their marketing. Drawn to Sound unpacks animation film sound and music tracks, and contextualises them within the screen and music industries. Focusing on feature-length, widely-distributed films released in the post-WW2 period, the book highlights work from key centres of animation production, such as the USA, the UK, Japan, significant studios including Disney, Aardman Animation and Studio Ghibli, and major auteurs like Tim Burton. Chapters by animation experts such as Paul Wells and Daniel Goldmark and by film music authorities including Philip Hayward, Ian Inglis and Janet Halfyard offer international perspectives on the history and aesthetics of music and sound in animation film. Contributions from authors in Japan, Australia, England, the USA and Canada explore animation soundtracks, their creators and their production approaches. Different disciplinary perspectives from music, media, cultural and animation studies offer models for future analysis. As the first of its kind, this anthology is an invaluable resource for students, teachers and researchers in film, animation, music and media studies.

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 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

• Edited by Rebecca Coyle