Andere Kunden interessierten sich auch für
![From the Films of Harry Potter: Mini Book of Spells and Charms]( "From the Films of Harry Potter: Mini Book of Spells and Charms")
From the Films of Harry Potter: Mini Book of Spells and Charms10,99 €![Das Theater des Daniil Charms als Strukturtyp des 'anderen' Theaters]( "Das Theater des Daniil Charms als Strukturtyp des 'anderen' Theaters")
Das Theater des Daniil Charms als Strukturtyp des 'anderen' Theaters28,00 €![The Auditory Setting]( "The Auditory Setting")
The Auditory Setting144,99 €![Sounds Like Helicopters]( "Sounds Like Helicopters")
Sounds Like Helicopters109,99 €![The Intruder]( "The Intruder")
The Intruder80,99 €![Veiled Desires]( "Veiled Desires")
Veiled Desires102,99 €![Casablanca's Conscience]( "Casablanca's Conscience")
Casablanca's Conscience102,99 €
From Chaplin's brilliant use of Wagner in The Gold Rush to the Bach chorale closing Scorsese's Casino, classical music has played a fascinating role in movies. Dean Duncan provides a fresh critical survey of the aesthetics of classical music in film. Exploring tensions between high art and commercial culture, Duncan examines how directors quote themes and classical passages in genres ranging from the Soviet avant garde to Hollywood romances. Drawing on film theory, musicology, and cultural criticism, he clarifies the connections between two very different art forms.