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Max Steiner's contribution to the formulation of early Hollywood scoring techniques is significant, particularly through his music for King Kong (1933) and The Informer (1935). The Academy Award winning score for Now, Voyager reflects the maturation of the composer's understanding of the dramatic ...

Max Steiner's contribution to the formulation of early Hollywood scoring techniques is significant, particularly through his music for King Kong (1933) and The Informer (1935). The Academy Award winning score for Now, Voyager reflects the maturation of the composer's understanding of the dramatic function of music in film. The primary resources incorporated in the analysis include, from the Max Steiner collection at Brigham Young University, Steiner's letters and scrapbooks and his unpublished autobiography Notes to You. In addition to contributing to the composer's own perspective on the music for this film and on scoring practice in general, these papers contribute to a broader debate about how films are interpreted and the part music plays in these schemes of criticism. This study of the film score occurs within the broader theoretical and historical debates currently characterizing film musicology and explores, from varied perspectives, how the score is meaningful and important to the film.

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.

This examination of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic Double Indemnity and concluding with Jim McBrides's Breathless. In-depth analyses of the films explain the qualities and characteristics of film ...

This examination of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic Double Indemnity and concluding with Jim McBrides's Breathless. In-depth analyses of the films explain the qualities and characteristics of film noir, while providing critical readings of both the originals and the remakes. As this study reveals, the noir style significantly impacted American film and neo-noir remakes attest to its continued popularity in cinematic art.

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.

Many of our favorite films began as plays--some as well known as Shakespeare's Romeo and Juliet, and some not so well known as You've Got Mail's origin, a 1937 play Parfumerie by Miklos Laszlo. Video Versions identifies nearly 300 films and their theatrical origins, providing readers with an ...

Many of our favorite films began as plays--some as well known as Shakespeare's Romeo and Juliet, and some not so well known as You've Got Mail's origin, a 1937 play Parfumerie by Miklos Laszlo. Video Versions identifies nearly 300 films and their theatrical origins, providing readers with an overview of the films and highlighting similarities and differences to the source plays. Perfect for teachers, students, and anyone interested in theater and film, it is the most complete resource available for video versions of plays.