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Lavish musical soundtracks contributed a special grandeur to the new widescreen, stereophonic sound movie experience of postwar biblical epics such as Samson and Delilah, Ben-Hur, and Quo Vadis. In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adept
Film composers. --- Bible films --- Motion picture music --- Cinema composers --- Film score composers --- Film scorers --- Motion picture composers --- Movie composers --- Scorers, Film --- Composers --- Biblical films --- Religious films --- History and criticism. --- History and criticism --- United States --- Film composers --- Samson and Delilah (Motion picture) --- David and Bathsheba (Motion picture) --- Quo Vadis (Motion picture) --- The Robe (Motion picture) --- The Ten Commandments (Motion picture) --- Ben-Hur (Motion picture) --- King of Kings (Motion picture) --- Barabbas (Motion picture) --- The Greatest Story Ever Told (Motion picture)
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The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America's potent mass culture. Drawn by Hollywood's potential to reach - and edify - the public, Copland and Eisler expertly wove sophisticated musical ideas into Hollywood and, each in their own distinctive way, left an indelible mark on movie history. Sally Bick's dual study of Copland and Eisler pairs interpretations of their writings on film composing with a close examination of their first Hollywood projects: Copland's music for Of Mice and Men and Eisler's score for Hangmen Also Die! Bick illuminates the different ways the composers treated a film score as means of expressing their political ideas on society, capitalism, and the human condition.
Film composers --- Motion picture music. --- Background music for motion pictures --- Film music --- Film scores --- Motion pictures --- Movie music --- Moving-picture music --- Dramatic music --- Music --- Cinema composers --- Film score composers --- Film scorers --- Motion picture composers --- Movie composers --- Scorers, Film --- Composers --- Copland, Aaron, --- Eisler, Hanns, --- Eisler, Johannes, --- Ėĭsler, Gans, --- Eissler, Hanns, --- Eisler, Hans, --- Eisler, H. --- Kopland, Aaron, --- Koplend, Aaron, --- Копланд, Аарон, --- コープランド, アーロン, --- Kōpurando, Āron, --- Kūpland, Ārūn, --- کوپلند، آرون --- Copland, Aron, --- Criticism and interpretation. --- Los Angeles- Hollywood --- USA --- United States of America --- Vereinigte Staaten von Amerika --- Nordamerika --- Amerika --- United States --- Etats Unis --- Etats-Unis --- Vereinigte Staaten --- Estados Unidos de America --- EEUU --- Vereinigte Staaten von Nordamerika --- Soedinennye Štaty Ameriki --- SŠA --- Stany Zjednoczone Ameryki Północnej --- Hēnōmenai Politeiai tēs Boreiu Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- HēPA --- Ēnōmenes Politeies tēs Amerikēs --- ĒPA --- Meiguo --- Etats-Unis d'Amérique --- US --- Amerikaner --- Konföderierte Staaten von Amerika --- LosAngeles-Hollywood --- Hollywood, Calif. --- Los Angeles-Hollywood, Calif. --- Los Angeles, Calif. --- Los Angeles- Hollywood, Calif. --- Los Angeles- Hollywood. --- USA.
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