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Most Canadians are city dwellers, a fact often unacknowledged by twentieth-century Canadian films, with their preference for themes of wilderness survival or rural life. Modernist Canadian films tend to support what film scholar Jim Leach calls "the nationalist-realist project," a documentary style that emphasizes the exoticism and mythos of the land. Over the past several decades, however, the hegemony of Anglo-centrism has been challenged by francophone and First Nations perspectives and the character of cities altered by a continued influx of immigrants and the development of cities as economic and technological centers. No longer primarily defined through the lens of rural nostalgia, Canadian urban identity is instead polyphonic, diverse, constructed through multiple discourses and mediums, an exchange rather than a strict orientation. Taking on the urban as setting and subject, filmmakers are ideally poised to create and reflect multiple versions of a single city. Examining fourteen Canadian films produced from 1989 to 2007, including Denys Arcand's Je?sus de Montre?al (1989), Jean-Claude Lauzon's Le?olo (1992), Mina Shum's Double Happiness (1994), Cle?ment Virgo's Rude (1995), and Guy Maddin's My Winnipeg (2007), Film and the City is the first comprehensive study of Canadian film and "urbanity"--the totality of urban culture and life. Drawing on film and urban studies and building upon issues of identity formation in Canadian studies, Melnyk considers how filmmakers, films, and urban audiences experience, represent, and interpret urban spatiality, visuality, and orality. In this way, Film and the City argues that Canadian narrative film of the postmodern period has aided in articulating a new national identity.
Motion pictures --- City and town life in motion pictures. --- Cities and towns in motion pictures. --- History. --- Quebec studies --- Atom Egoyan --- Film criticism --- Robert Lepage --- Bruce McDonald --- Postmodern film --- Guy Maddin --- Bruce Sweeney --- Patricia Rozema --- Canadian film --- Mina Shum --- Urban studies --- Deepa Mehta --- Jean-Claude Lauzon --- Denis Villeneuve --- Clement Virgo --- Gary Burns --- Denys Arcand --- Jim Leach
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Celluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the music-Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein and Howard Shore-and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present. Julie Hubbert's introductory essays offer a stimulating overview of film history as well as critical context for the close study of these primary documents. In identifying documents that form a written and aesthetic history for film music, Celluloid Symphonies provides an astonishing resource for both film and music scholars and for students.
Motion picture music - History and criticism. --- Motion picture music -- History and criticism. --- Symphony. --- Motion picture music --- Film, Musique de --- Symphonie --- History and criticism. --- Histoire et critique --- Sinfonietta --- Symphonies --- Symphonietta --- Symphony --- Musical form --- History and criticism --- aesthetics. --- art history. --- auteurs. --- commercial pressure. --- digital age. --- early sound films. --- elmer bernstein. --- erich korngold. --- film criticism. --- film history. --- film music. --- film studies. --- hollywood scores. --- howard shore. --- jerry goldsmith. --- max steiner. --- movie criticism. --- movie studies. --- music and film. --- music for film. --- music history. --- music. --- popular music. --- postmodern film. --- serialism. --- technological innovations. --- the silent film. --- writings.
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