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"More genres, 19 in fact, are discussed than in other standard works. The 14 genres considered here by film scholar contributors other than Gehring include the adventure film, the western, the gangster film, film noir, the WW II combat film, the horror film, science fiction, fantasy, the musical ...

"More genres, 19 in fact, are discussed than in other standard works. The 14 genres considered here by film scholar contributors other than Gehring include the adventure film, the western, the gangster film, film noir, the WW II combat film, the horror film, science fiction, fantasy, the musical, melodrama, the social problem film, the biographical film, and the art film. The discussion of fine comedy genres by Gehring himself is far more extensive than in other genre studies, embracing screwball comedy, populist comedy, parody, black humor, and clown comedy. . . . Recommended for both undergraduate and graduate collections." Choice

In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often ...

In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often planned from the start as an integral part of the whole cinematic experience. Following an introductory chapter that outlines several key theoretical questions and surveys eight decades of writing on film music, Martin Miller Marks focuses on those scores created between 1895 and 1924. He begins by considering two early examples, one German (written by persons unknown for Skladanowsky's Bioskop exhibitions in 1895 and 1896) and one French (scored by Camille Saint-Saens for the 1908 film L'Assassinat du Duc de Guise). Subsequent chapters fully discuss Walter Cleveland Simon's music for the American film An Arabian Tragedy (1912) as well as the Joseph Breil accompaniment to D. W. Griffith's Birth of a Nation (1915). As described in this book, Breil's memorable score--though a compilation derived from many sources--was played by an orchestra as Griffith's sweeping images filled the screen, thus contributing significantly to the great film's success while also achieving remarkable power in its own right. Marks then concludes with a look at Erik Satie's witty and innovative music for the French film Entr'acte (1924), which was the first film score of consequence by an avant-garde composer. Giving unprecedented attention to a vibrant, important, and oft-neglected facet of twentieth-century music, Music and the Silent Film will interest scholars of film theory, film history, modern music, and modern aesthetics.

Following on from the phenomenally successful Shakespeare, The Movie , this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond. Shakespeare, The Movie II :*focuses for the first time on the impact of postcolonialism, globalization and ...

Following on from the phenomenally successful Shakespeare, The Movie , this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond. Shakespeare, The Movie II :*focuses for the first time on the impact of postcolonialism, globalization and digital film on recent adaptations of Shakespeare;*takes in not only American and British films but also adaptations of Shakespeare in Europe and in the Asian diapora;*explores a wide range of film, television, video and DVD adaptations from Almereyda's Hamlet to animated tales, via Baz Luhrmann, Kenneth Branagh, and 1990s' Macbeths, to name but a few;*offers fresh insight into the issues surrounding Shakespeare on film, such as the interplay between originals and adaptations, the appropriations of popular culture, the question of spectatorship, and the impact of popularization on the canonical status of "the Bard."Combining three key essays from the earlier collection with exciting new work from leading contributors, Shakespeare, The Movie II offers sixteen fascinating essays. It is quite simply a must-read for any student of Shakespeare, film, media or cultural studies.