They apply a variety of methodologies-including archival work, close readings, political histories, and style comparison-to this under explored field.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Phil Powrie is Professor of French Cultural Studies at the University of Newcastle upon Tyne. Most recently, he is co-author (with Bruce Babington, Ann Davies, and Chris Perriam) of Carmen on Film: A Cultural History (IUP, 2007). Robynn Stilwell is Assistant Professor of Music in the Department of Art, Music and Theatre at Georgetown University. She is co-editor (with Phil Powrie) of Changing Tunes: The Use of Pre-existing Music in Film.
Inhaltsangabe
Contents Introduction Part 1. Germany 1. Film Music in the Third ReichRobert E. Peck 2. Herbert Windt's Film Music to Triumph of the Will: Ersatz-Wagner or Incidental Music to the Ultimate Nazi-Gesamtkunstwerk?Reimar Volker 3. Alban Berg, Lulu, and the Silent FilmMarc Weiner 4. From Revolution to Mystic Mountains: Edmund Meisel and the Politics of ModernismChristopher Morris 5. New Technologies and Old Rites: Dissonance between Picture and Music in Readings of Joris Ivens's RainEd Hughes 6. "Composition with Film": Mauricio Kagel as FilmmakerBjörn Heile Part 2. The USSR 7. Eisenstein's Theory of Film Music Revisited: Silent and Early Sound AntecedentsJulie Hubbert 8. Aleksandr Nevskiy: Prokofiev's Successful Compromise with Socialist RealismRebecca Schwartz-Bishir 9. In Marginal Fashion: Sex, Drugs, Russian Modernism, and New Wave Music in Liquid SkyMitchell Morris List of Contributors Index
Contents Introduction Part 1. Germany 1. Film Music in the Third ReichRobert E. Peck 2. Herbert Windt's Film Music to Triumph of the Will: Ersatz-Wagner or Incidental Music to the Ultimate Nazi-Gesamtkunstwerk?Reimar Volker 3. Alban Berg, Lulu, and the Silent FilmMarc Weiner 4. From Revolution to Mystic Mountains: Edmund Meisel and the Politics of ModernismChristopher Morris 5. New Technologies and Old Rites: Dissonance between Picture and Music in Readings of Joris Ivens's RainEd Hughes 6. "Composition with Film": Mauricio Kagel as FilmmakerBjörn Heile Part 2. The USSR 7. Eisenstein's Theory of Film Music Revisited: Silent and Early Sound AntecedentsJulie Hubbert 8. Aleksandr Nevskiy: Prokofiev's Successful Compromise with Socialist RealismRebecca Schwartz-Bishir 9. In Marginal Fashion: Sex, Drugs, Russian Modernism, and New Wave Music in Liquid SkyMitchell Morris List of Contributors Index
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