Music, Authorship, Narration, and Art Cinema in Europe
portes grátis
Music, Authorship, Narration, and Art Cinema in Europe
1940s to 1980s
Boczkowska, Ewelina; Baumgartner, Michael
Taylor & Francis Ltd
10/2024
238
Mole
9781032399089
Pré-lançamento - envio 15 a 20 dias após a sua edição
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Part 1: Cinematic Collaborations and the Questioning of the Auteur Style Through Music
1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles
Laura Anderson
2. Palimpsest, Mediation, Deja entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita
Emilio Sala
3. Michael Nyman and the Development of an Art House Musical Aesthetic
Pwyll ap Sion
Part 2: Music and Narration: The Meaning Beyond the Text
4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine
Joan Titus
5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living
Roberto Calabretto
Part 3: Music as Cinematic Metaphor in a Repressed Political System
6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85
Dominique Nasta
7. Echoes of Catastrophe: Music in Films of The Polish School
Iwona Sowinska
8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cria cuervos (1975)
Karen Poe Lang
1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles
Laura Anderson
2. Palimpsest, Mediation, Deja entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita
Emilio Sala
3. Michael Nyman and the Development of an Art House Musical Aesthetic
Pwyll ap Sion
Part 2: Music and Narration: The Meaning Beyond the Text
4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine
Joan Titus
5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living
Roberto Calabretto
Part 3: Music as Cinematic Metaphor in a Repressed Political System
6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85
Dominique Nasta
7. Echoes of Catastrophe: Music in Films of The Polish School
Iwona Sowinska
8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cria cuervos (1975)
Karen Poe Lang
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
auteurism;film music;music and film;directors;music and cinema;european film;film studies;soundtrack;Chopin;Wolfgang Amadeus Mozart;Young Man;Les Enfants Terribles;Art House Films;Mihai Viteazul;Il Grido;Pre-existing Music;Dolce Vita;Nyman's Music;Art Cinema;Long Shots;Nikt Nie;Draughtsman's Contract;Greenaway's Films;Shostakovich's Music;European Art Cinema;Vivaldi's Concerto;Paso Doble;Rota's Music;NATO Nation;Fish Beach;Fife Player;Classical Film Music
Part 1: Cinematic Collaborations and the Questioning of the Auteur Style Through Music
1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles
Laura Anderson
2. Palimpsest, Mediation, Deja entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita
Emilio Sala
3. Michael Nyman and the Development of an Art House Musical Aesthetic
Pwyll ap Sion
Part 2: Music and Narration: The Meaning Beyond the Text
4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine
Joan Titus
5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living
Roberto Calabretto
Part 3: Music as Cinematic Metaphor in a Repressed Political System
6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85
Dominique Nasta
7. Echoes of Catastrophe: Music in Films of The Polish School
Iwona Sowinska
8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cria cuervos (1975)
Karen Poe Lang
1. Music as a Sonic Enabler: Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles
Laura Anderson
2. Palimpsest, Mediation, Deja entendu-Effect: The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita
Emilio Sala
3. Michael Nyman and the Development of an Art House Musical Aesthetic
Pwyll ap Sion
Part 2: Music and Narration: The Meaning Beyond the Text
4. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine
Joan Titus
5. Michelangelo Antonioni's Il grido: Its Music and the Pain of Living
Roberto Calabretto
Part 3: Music as Cinematic Metaphor in a Repressed Political System
6. A Taste of Freedom Behind Closed Doors: Romanian Film Music before the Fall of Communism, 1955-85
Dominique Nasta
7. Echoes of Catastrophe: Music in Films of The Polish School
Iwona Sowinska
8. The Soundtrack of the Uncanny: Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cria cuervos (1975)
Karen Poe Lang
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
auteurism;film music;music and film;directors;music and cinema;european film;film studies;soundtrack;Chopin;Wolfgang Amadeus Mozart;Young Man;Les Enfants Terribles;Art House Films;Mihai Viteazul;Il Grido;Pre-existing Music;Dolce Vita;Nyman's Music;Art Cinema;Long Shots;Nikt Nie;Draughtsman's Contract;Greenaway's Films;Shostakovich's Music;European Art Cinema;Vivaldi's Concerto;Paso Doble;Rota's Music;NATO Nation;Fish Beach;Fife Player;Classical Film Music