This volumes reintroduces critics, film musicologists, cinemagoers, and fans of Francis Ford Coppola's cinema and Nino Rota's music to the events that led to the realization of the three films that make up The Godfather Trilogy, commenting on their significance both musically and culturally. Released in 1972, 1974, and 1990 respectively, Coppola's three-part saga is one of the greatest artistic accomplishments (and financial successes) in the history of Hollywood cinema.
Opera can reveal something fundamental about a film, and film can do the same for an opera, argues Marcia J. Citron. Structured by the categories of Style, Subjectivity, and Desire, this volume advances our understanding of the aesthetics of the opera/film encounter. Case studies of a diverse array of important repertoire including mainstream film, opera-film, and postmodernist pastiche are presented. Citron uses Werner Wolf's theory of intermediality to probe the roles of opera and film when they combine. The book also refines and expands film-music functions, and details the impact of an opera's musical style on the meaning of a film. Drawing on cinematic traditions of Hollywood, France, and Britain, the study explores Coppola's Godfather trilogy, Jewison's Moonstruck, Nichols's Closer, Chabrol's La Cérémonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films.
Screenwriters and film directors have long been fascinated by the challenges of representing the listening experience on screen. While music has played a central role in film narrative since the conception of moving pictures, the representation of music listening has remained a special occurrence. In Situated Listening: The Sound of Absorption in Classical Cinema, author Giorgio Biancorosso argues for a redefinition of the music listener as represented in film. Rather than construct the listener as a reverential concertgoer, music analyst, or gallery dweller, this book instead shows how films offer a new way of thinking about listening as distributed experience, an activity made public and shareable across vast cultural spaces rather than an insular motion. It shows how cinema functions as not only a reservoir of established modes of listening, but also an agent in the development of new listening practices. As Biancorosso argues, many films have perpetuated a long-existing paradox of music as a means of silencing. Consider an aggressive score overlaying battle scenes or a romantic scene conveying unspoken intimacy. In the place of conversational exchange exists a veil of sound in the form of music, and Situated Listening explains why this function influences both the course of interpretation and empathy experienced by film spectators. By focusing on cinematic, physical, and emotional scenery surrounding a character, viewers can recognize aspects of their own lives, developing a deeper empathy for each fictional character through real and shared listening practices.
Nino Rota is one of the most important composers in the history of cinema. Both popular and prolific, he wrote some of the most cherished and memorable of all film music – for The Godfather Parts I and II, The Leopard, the Zeffirelli Shakespeares, nearly all of Fellini and for more than 140 popular Italian movies. Yet his music does not quite work in the way that we have come to assume music in film works: it does not seek to draw us in and identify, nor to overwhelm and excite us. In itself, in its pretty but reticent melodies, its at once comic and touching rhythms, and in its relation to what's on screen, Rota's music is close and affectionate towards characters and events but still restrained, not detached but ironically attached. In this major new study of Rota's film career, Richard Dyer gives a detailed account of Rota's aesthetic, suggesting it offers a new approach to how we understand both film music and feeling and film more broadly. He also provides a first full account in English of Rota's life and work, linking it to notions of plagiarism and pastiche, genre and convention, irony and narrative. Rota's practice is related to some of the major ways music is used in film, including the motif, musical reference, underscoring and the difference between diegetic and non-diegetic music, revealing how Rota both conforms to and undermines standard conceptions. In addition, Dyer considers the issue of gay cultural production, Rota's favourte genre, comedy, and his productive collaboration with the director Federico Fellini.
Director Krzysztof Kieslowski's Three Colors trilogy—Blue (1993), White (1993), and Red (1994)—is one of the great achievements of European film. A meditation on liberty, equality, and fraternity, these three films marked the culmination of the director's career, as well as the zenith of one of the most important creative collaborations in 20th-century cinema-between Kieslowski, scriptwriter Krzysztof Piesiewicz, and composer Zbigniew Preisner. Thanks to their close working relationship, music for the Three Colors trilogy achieves both a focal narrative and philosophical function. At times, Preisner's music advances the narrative independently of the films' other codes; at other times, it creates a metaphorical space into which the audience is invited in order to read for "deeper" messages. As the first major scholarly treatment of Preisner's music, Nicholas Reyland's Zbigniew Preisner's Three Colors Trilogy: A Film Score Guide fills an important void in film score scholarship. In this guide, Reyland analyzes the historical context of the film scores, the life of the composer, the hermeneutic and narrative role of the music within the film, and the musical scoring techniques used for the trilogy. This volume also draws on an interplay of established "classic" approaches to analyzing film music and more recent approaches in the exploration of its themes and readings. In addition, the composer's willingness to be interviewed by Reyland enhances the musicological scholarship of this book, giving the reader privileged access into the process of scoring. A significant contribution to both film studies and musicological literature, this book celebrates one of the great cinematic achievements of the last few decades.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 68. Chapters: Film scores by Nino Rota, Operas by Nino Rota, Waterloo, The Godfather Part II, Romeo and Juliet, La Dolce Vita, 81/2, I Vitelloni, Amarcord, Satyricon, List of film scores by Nino Rota, La Strada, Death on the Nile, The Great War, Histoires extraordinaires, Nights of Cabiria, Fellini's Casanova, Rocco and His Brothers, Purple Noon, The Leopard, List of compositions by Nino Rota, Love and Anarchy, War and Peace, The Taming of the Shrew, The White Sheik, Valentino: The Last Emperor, Boccaccio '70, Mafioso, Anna, Il bidone, Hurricane, White Nights, The Reluctant Saint, Roma, Submarine Attack, Juliet of the Spirits, Two Cents Worth of Hope, The Most Wonderful Moment, I due timidi, Orchestra Rehearsal, The Man, the Woman and the Money, Ernesto, Side Street Story, Mambo, Under Ten Flags, Obsession, The Law Is the Law, Shoot Loud, Louder... I Don't Understand, Ghosts of Rome, Caro Michele, Flesh Will Surrender, Amici per la pelle, His Young Wife, The Condemned of Altona, A Dog's Life, Venetian Bird, Toto and the King of Rome, Under the Sun of Rome, His Last Twelve Hours, Young Husbands, E arrivato il cavaliere , A Yank in Rome, A Hero of Our Times, Doctor and the Healer, Piece of the Sky, Campane a martello, Easy Years, Difficult Years, Il cappello di paglia di Firenze, Toto al giro d'Italia, Hey Boy, I clowns, Proibito, The Abdication, Senza pieta, La Regina di Saba, The Best of Enemies, To Live in Peace, Something Money Can't Buy, Fortunella, The Glass Mountain, E primavera..., Quel bandito sono io, Peppino e Violetta, Star of India, Donne e briganti, Il Monello della strada, Daniele Cortis, Cento anni d'amore, Vergine moderna, Due mogli sono troppe, Jolanda la figlia del corsaro nero, Gli Angeli del quartiere, Noi due soli, Era lui... si si , Orgasmo, Un Ladro in paradiso, Marito e moglie. Excerpt: The Godfather is a 19.
A study of controversy in the arts, and the extent to which such controversies are socially rather than just aesthetically conditioned. The collection pays special attention to the vested interests and the social dynamics involved, including class, religion, culture, and - above all - power.
American drama by Library of Congress. Copyright Office