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Celluloid Symphonies : Texts and Contexts in Film Music History / / Julie Hubbert



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Titolo: Celluloid Symphonies : Texts and Contexts in Film Music History / / Julie Hubbert Visualizza cluster
Pubblicazione: Berkeley, CA : , : University of California Press, , [2011]
©2011
Descrizione fisica: 1 online resource (525 p.)
Disciplina: 781.5/4209
Soggetto topico: Motion picture music
Symphony
Soggetto non controllato: 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
Persona (resp. second.): HubbertJulie
Note generali: Description based upon print version of record.
Nota di contenuto: Celluloid Symphonies -- Front matter -- Contents -- Preface -- Acknowledgments -- Part One. Playing the Pictures: Music and the Silent Film (1895-1925) -- Introduction -- 1. Plain Talk to Theater Managers and Operators. Seating/Music (1909) -- 2. Incidental Music for Edison Pictures (1909) -- 3. Jackass Music (1911) -- 4. Selections from What and How to Play for Pictures (1913) -- 5. Music for the Picture (1911) -- 6. The Art of Exhibition: Rothapfel on Motion Picture Music-Its Object and Its Possibilities (1914) -- 7. Selections from Musical Accompaniment of Moving Pictures (1920) -- 8. Selections from Musical Presentation of Motion Pictures (1921) -- 9. Selections from Encyclopaedia of Music for Pictures (1925) -- 10. Two Thematic Music Cue Sheets: The Thief of Bagdad (1924) and Dame Chance (1926) -- 11. Music and Motion Pictures (1926) -- 12. Publishers Win Movie Music Suit (1924) -- Part Two. All Singing, Dancing, and Talking: Music in the Early Sound Film (1926- 1934) -- Introduction -- 13. New Musical Marvels in the Movies (1926) -- 14. Musicians to Fight Sound-Film Devices (1928) -- 15. The Truth about Voice Doubling (1929) -- 16. Westward the Course of Tin-Pan Alley (1929) -- 17. What's Wrong with Musical Pictures? (1930) -- 18. Present Day Musical Films and How They Are Made Possible (1931) -- 19. Alfred Hitchcock on Music in Films (1934) -- Part Three. Carpet, Wallpaper, and Earmuffs: The Hollywood Score (1935-1959) -- Introduction -- 20. Composers in Movieland (1935) -- 21. The Aesthetics of the Sound Film (1935) -- 22. Scoring the Film (1937) -- 23. Some Experiences in Film Music (1940) -- 24. What Is a Filmusical? (1937) -- 25. Music in the Films (1941) -- 26. Music or Sound Effects? (1947) -- 27. The New Musical Resources (1947) -- 28. Movie Music Goes on Record (1952) -- 29. The Man with the Golden Arm (1956) -- 30. Forbidden Planet (1956) -- 31. Interview with Stanley Donen (1977) -- 32. One Thing's for Sure, R 'n' R Is Boffo B.O. (1958) -- Part Four. The Recession Soundtrack: From Albums to Auteurs, Songs to Serialism (1960-1977) -- Introduction -- 33. Film Themes Link Movie, Disk Trades (1960) -- 34. Mancini Debunks Album Values (1961) -- 35. Herrmann Says Hollywood Tone Deaf as to Film Scores (1964) -- 36. The New Sound on the Soundtracks (1967) -- 37. Movies: Tuning In to the Sound of New Music (1968) -- 38. Towards an Interior Music (1997) -- 39. Keeping Score on Schifrin: Lalo Schifrin and the Art of Film Music (1969) -- 40. BBC Interview with Jerry Goldsmith (1969) -- 41. The Jazz Composers in Hollywood: A Symposium with Benny Carter, Quincy Jones, Henry Mancini, Lalo Schifrin, and Pat Williams (1972) -- 42. George Lucas: Stinky Kid Hits the Bigtime (1974) -- 43. The Annotated Friedkin (1974) -- 44. What ever Became of Movie Music? (1974) -- Part Five. The Postmodern Soundtrack: Film Music in the Video and Digital Age (1978-Present) -- Introduction -- 45. Selling a Hit Soundtrack (1979) -- 46. Interview with John Williams (1997) -- 47. Scoring with Synthesizers (1982) -- 48. Rock Movideo (1985) -- 49. How Rock Is Changing Hollywood's Tune (1989) -- 50. Danny Elfman: From Boingo to Batman (1990) -- 51. Selections from The Celluloid Jukebox: Interviews with Allison Anders, Alan Rudolph, Michael Mann, Isaac Julien, Wim Wenders, Bob Last, Penelope Spheeris, Ry Cooder, Quentin Tarantino, Cameron Crowe, and David Byrne (1995) -- 52. Composing with a Very Wide Palette: Howard Shore in Conversation (1999) -- 53. Hollywood Sound (2005) -- Index
Sommario/riassunto: 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.
Titolo autorizzato: Celluloid Symphonies  Visualizza cluster
ISBN: 1-283-27727-1
9786613277275
0-520-94743-6
Formato: Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione: Inglese
Record Nr.: 9910825955803321
Lo trovi qui: Univ. Federico II
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