Listing 1 - 3 of 3 |
Sort by
|
Choose an application
Many believe Max Steiner's score for King Kong (1933) was the first important attempt at integrating background music into sound film, but a closer look at the industry's early sound era (1926-1934) reveals a more extended and fascinating story. Viewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in Hollywood's initial development, recasting the history of film sound and its relationship to the "Golden Age" of film music (1935-1950).Slowik follows filmmakers' shifting combinations of sound and image, recapturing the volatility of this era and the variety of film music strategies that were tested, abandoned, and kept. He explores early film music experiments and accompaniment practices in opera, melodrama, musicals, radio, and silent films and discusses the impact of the advent of synchronized dialogue. He concludes with a reassessment of King Kong and its groundbreaking approach to film music, challenging the film's place and importance in the timeline of sound achievement.
Motion picture music --- Film, Musique de --- History and criticism. --- Histoire et critique --- Music --- Film --- anno 1930-1939 --- anno 1920-1929 --- Los Angeles --- Los Angeles [California] --- Motion picture music -- United States -- History and criticism.
Choose an application
Dès que la technique du cinéma le permit, la musique fut l'hôte de marque des productions animées des studios Disney. Ressource privilégiée, elle suscite des scénarios entiers, constituant un moteur et servant de liant. De Blanche-Neige et les 7 nains au Livre de la jungle, elle remplit des rôles centraux. Elle triomphe dans Fantasia, constituant la matière première du film.
Motion picture music --- Film, Musique de --- History and criticism --- Histoire et critique --- Disney, Walt, --- Criticism and interpretation --- Knowledge --- Music --- Musique de film --- Et la musique --- Histoire et critique. --- Motion picture music - United States - History and criticism --- Disney, Walt, - 1901-1966 - Criticism and interpretation --- Disney, Walt, - 1901-1966 - Knowledge - Music --- Disney, Walt, - 1901-1966
Choose an application
When Dmitri Tiomkin thanked Johannes Brahms, Johann Strauss, Richard Strauss, and Richard Wagner upon accepting the Academy Award for his score of The High and the Mighty in 1954, he was honoring a romantic style that had characterized Hollywood's golden age of film composition from the mid-1930's to the 1950's. Exploring elements of romanticism in film scores of composers ranging from Erich Korngold to Bernard Herrmann, Caryl Flinn argues that films tended to link music to the sense of an idealized, lost past. Just as the score of Gone with the Wind captured the grandeur of the antebellum South, others prompted flashbacks or suggested moments of emotional intensity and sensuality. Maintaining that many films treated this utopian impulse as a female trait, Flinn investigates the ways Hollywood genre films--particularly film noir and melodrama--sustained the connection between music and nostalgia, utopia, and femininity. The author situates Hollywood film scores within a romantic aesthetic ideology, noting compositional and theoretical affinities between the film composers and Wagner, with emphasis on authorship, creativity, and femininity. Pointing to the lasting impact of romanticism on film music, Flinn draws from poststructuralist, Marxist, feminist, and psychoanalytic criticism to offer fresh insights into the broad theme of music as an excessive utopian condition.
#BIBC:ruil
Listing 1 - 3 of 3 |
Sort by
|