...Charlie Chaplin composed his own music for City Lights (1931), Modern Times (1936) and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy...
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...Charlie Chaplin composed his own music for City Lights (1931), Modern Times (1936) and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy...
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...endorsement. Almost all the benchmarks followed by directors, actors and studios alike, come from, as most critics would agree, the golden age of Hollywood. Lasting from the 1920s-1960s, films produced between these years gave true recognition and uniqueness to US cinema. Also known as Classical Hollywood, these years provided the public with a sense of fashion like no other. We...
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...An artistic movement whose influence on film has been as profound and enduring as that of surrealism or cubism on painting, the French New Wave (or Le Nouvelle Vague) made its first splashes as a movement shot through with youthful exuberance and a brisk reinvigoration of the filmmaking process. Most agree that the French New Wave was at its peak between 1958 and 1964, but it continued to ripple on afterwards, with many of the tendencies and styles introduced by the movement still in practice today… French New Wave The New Wave (French: La Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. "New Wave" is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary type style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism...
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...authors and artists. One of the most famous and significant American entertainers of the lot has been Walt Disney, introducing millions of children and adults to his world of limitless (or so is widely believed) imagination and magic, from the earliest short cartoons produced in the 1920s, to full-length feature animations such as Snow White and the Seven Dwarfs, to the numerous animations and live-actions films as well as Disneyland theme parks, all kept alive by the thriving Disney Company decades after the death of its founder. Disney’s legacy lives on in a variety of entertainment and consumer-oriented products, enthralling audiences the world over. Nevertheless, one type of art often precedes another, and among the most well known, classic...
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...in part by … discourses of national identity … the stories that all nations tell themselves: stories about the nation’s origins, its struggles, its triumphs, its character, its values, its past, and even its future.” (Jackie Hogan). With specific and direct reference to one ‘movement’/national cinema studied this term, discuss “discourses of national identity,” paying attention to how they “imagine” the nation for both domestic and foreign audiences. Realism is an important concept in the cinematic movement of the British New Wave and its spark of Social-Realist films that began to surface from the 1950’s. There are various incentives for this quest for depicting the world as it really is in film. In Theories of Cinema (1999) film theorist Francesco Casetti states that people want to see “the splendor of the world, the truth of things, in a word, reality” (Casetti, 1999, p.21), and this understanding may be regarded as the founding maxim of the British New Wave movement which attempted to present the previously unseen ‘real’ Britain. The British New Wave movement emerged from the short-lived but exceptionally influential British documentary movement of the 1950’s known as Free Cinema. This movement began with a series of documentaries directed by the likes of Lindsay Anderson, Karel Reisz and Tony Richardson being screened at the National Film Theatre in London in February 1956, and continued until March 1959. The films were ‘free’ in the sense that they were created outside...
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...THE COST OF ARTISTIC FREEDOM: CENSORSHIP vs. LIBERALISM IN HOLLYWOOD, 1940 – 1960 Destiny Adams History 734 – Seminar in American History Dr. Wintz – Texas Southern University Spring 2009 Table of Contents Part One 1.1 – Introduction – p. 3 1.2 – Social and Political Climate pp. 3-11 1.3 – Production Code Resolutions pp.11-15 Part Two 2.1- Production Codes – I, II, III and IV pp.16 2.2 – Production Codes V, VI, VII and VIII pp.17-18 2.3 - Production Codes IX, X, XI and XII pp.18 Part Three 3.1- Hollywood and Film making – 1940-1949 pp.18-21 3.2- Movies – Awarded, Nominated, Not Nominated pp.21 Part Four 4.1- Hollywood and Film making – 1950-1959 pp.22-26 4.2- Movies – Awarded, Nominated, Not Nominated pp.26 Part Five 5.1- Synopsis of Film making in the 1960’s – New Era pp. 27-28 5.2- Conclusion pp.28-29 The Red Scare of 1917-1920, was the primary influence for the emergence of censorship through McCarthyism and Anti- Socialist sentiments in filmmaking during 1940-1960. McCarthyism and three international wars enhanced Anti – Communist resentments within the United States. A brief emergence of Socialist organizations in America heightened the fervor of conservative versus liberal views within cinematography. Motion Movie producers and Distributors, in Hollywood, California were heavily encouraged to influence film directors, screenwriters and actors by incorporating strict codes within their artistic expression...
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...(c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6 SOUNDS AND IMAGES Movies and the Impact of Images 187 Early Technology and the Evolution of Movies 192 The Rise of the Hollywood Studio System 195 The Studio System’s Golden Age 205 The Transformation of the Studio System 209 The Economics of the Movie Business 215 Popular Movies and Democracy In every generation, a film is made that changes the movie industry. In 1941, that film was Orson Welles’s Citizen Kane. Welles produced, directed, wrote, and starred in the movie at age twenty-five, playing a newspaper magnate from a young man to old age. While the movie was not a commercial success initially (powerful newspaper publisher William Randolph Hearst, whose life was the inspiration for the movie, tried to suppress it), it was critically praised for its acting, story, and directing. Citizen Kane’s dramatic camera angles, striking film noir–style lighting, nonlinear storytelling, montages, and long deep-focus shots were considered technically innovative for the era. Over time, Citizen Kane became revered as a masterpiece, and in 1997 the American Film Institute named it the Greatest American Movie of All Time. “Citizen Kane is more than a great movie; it is a gathering of all the lessons of the emerging era of sound,” film critic Roger Ebert wrote.1 CHAPTER 6 ○ MOVIES 185 (c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6 MOVIES A generation later...
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...Anime (Japanese: アニメ?, [anime] ( listen); English i/ˈænɨmeɪ/) are Japanese animated productions usually featuring hand-drawn or computer animation. The word is the abbreviated pronunciation of "animation" in Japanese, where this term references all animation;[1] the term may ultimately derive from the French dessin animé, referring to an animated picture.[2] In other languages, the term is defined as animation from Japan or as a Japanese-disseminated animation style. Arguably, the stylization approach to the meaning may open up the possibility of anime produced in countries other than Japan.[3][4][5] For simplicity, many Westerners strictly view anime as an animation product from Japan.[6] The earliest commercial Japanese animation dates to 1917, and production of anime works in Japan has since continued to increase steadily. The characteristic anime art style emerged in the 1960s with the works of Osamu Tezuka and spread internationally in the late twentieth century, developing a large domestic and international audience. Anime is distributed theatrically, by television broadcasts, directly to home media, and over the internet and is classified into numerous genres targeting diverse broad and niche audiences. Anime is a diverse art form with distinctive production methods and techniques that have been adapted over time in response to emergent technologies. The production of anime focuses less on the animation of movement and more on the realism of settings as well as the use...
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...Independent Film Producers Name Institution Independent Film Producers An independent film refers to film production that results in a feature film which is majorly or completely produced outside the main film studio system (O’Meara, 2014). Besides being produced and disseminated by independent theatre companies, independent films are also distributed and produced by firms of major film studios. These independent films are commonly distinguishable by their style and content as well as the way the personal artistic vision of the filmmaker is realized (O’Meara, 2014). Generally, independent films are produced with considerably lesser film budgets compared to major studio films. Also, the marketing of these films is usually marked by limited release, though they can also have major promoting campaigns as well as wide release. They are usually screened at international, national, or local film festivals before being distributed (O’Meara, 2014). This paper presents a biographical essay of three independent film producers; Woody Allen, Wes Anderson, and Noah Baumbach Woody Allen Woody Allen is an American writer, playwright, comedian, actor, and director. He was born in 1935 in the Bronx (Girgus, 2002). However, he was raised in Brooklyn, a town in New York. Allen was the son of Nettie, a book keeper, and Martin Konigsberg, a waiter and a jewelry engraver. He had a sister named Letty and was born in 1943. Allen’s family was Ashkenazi Jewish. .Allen’s childhood was not for the...
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...Under “Western Eyes”: The Personal Odyssey of Huang Fei-Hong in Once upon a Time in China by Tony Williams Rather than being read in exclusively postmodernist terms, Tsui Hark’s series Once upon a Time in China may be understood as a new version of a Hong Kong cinematic discourse involving historical “interflow.” It deals with dispersion, China’s relationship to the outside world, and strategic forms of reintegration designed to strengthen national identity. In Sammo Hung’s Wong Fei Hung Ji Saam (West Territory Mighty Lion/Once upon a Time in China and America, 1997), Master Huang Fei-hong (Jet Li Linjie) travels to the Wild West to visit an American branch of the Po Chi Lam Clinic set up by his student Sol. During the journey, he bangs his head against a rock in a turbulent stream and loses his memory. He is rescued by a friendly tribe of Indians. Moments before we see Huang again, an Indian emerges from a tepee proudly announcing the birth of a child. When Huang recovers, he stumbles around in the Indian camp wearing an Indian costume, and his loose unbraided hair is flowing like an Indian’s. After using his martial arts prowess to defeat a hostile Indian, who ironically mouths racist American platitudes against the outsider—”His clothing is different, his skin color is different, his speech is different”—Huang is adopted into the tribe and given the name “Yellow.” Before this, he attempts to remember events of the recent past. But his vague recollections...
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...1 The Evolution of Music in Film and its Psychological Impact on Audiences By Stuart Fischoff, Ph.D. “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” Film composer Bernard Herrmann. Why Is There Music in Film? The general feeling about film is that it is singularly a visual experience. It is not. While we certainly experience film through our eyes, we just as surely experience it through our ears. Especially today, particularly with modern home and theater sound systems offering multi-channel sound and high fidelity. Films are generally fantasies. And fantasies by definition defy logic and reality. They conspire with the imagination. Music works upon the unconscious mind. Consequently, music works well with film because it is an ally of illusion. Music plays upon our emotions. It is generally a non-intellectual communication. The listener does not need to know what the music means, only how it makes him feel. Listeners, then, find the musical experience in film one that is less knowing and more feeling. The onscreen action, of course, provides clues and cues as to how the accompanying music does...
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...densely populated Ganges Delta region of East Pakistan (which would become independent as Bangladesh in 1971) in November 1970; The Iranian Revolution of 1979 ousted Mohammad Reza Shah Pahlavi who was later replaced by an Islamic theocracy led by Ayatollah Khomeini; The popularity of the disco music genre peaked during the middle to late 1970s. Millennium: | 2nd millennium | Centuries: | 19th century – 20th century – 21st century | Decades: | 1940s 1950s 1960s – 1970s – 1980s 1990s 2000s | Years: | 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 | Categories: | Births – Deaths – ArchitectureEstablishments – Disestablishments | The 1970s, pronounced "the Nineteen Seventies", refers to a decade within the Gregorian calendar that began on January 1, 1970, and ended on December 31, 1979. In the 21st century historians have increasingly portrayed the decade as a "pivot of change" in world history focusing especially on the economic upheavals.[1] In the Western world, social progressive values that began in the 1960s, such as increasing political awareness and political and economic liberty of women, continued to grow. In the United Kingdom the 1979...
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...I have duly acknowledged all the sources used by me in the preparation of this dissertation. 3rd March 2013 Kshitij Pipaleshwar ii CERTIFICATE This is to certify that the dissertation entitled ‘‘Gunda’ and ‘Loha’ : A Study of Cult Film Cultures’ is the record of the original work done by Kshitij Pipaleshwar under my guidance and supervision. The results of the research presented in this dissertation/thesis have not previously formed the basis for the award of any degree, diploma, or certificate of this Institute or any other institute or university. 4th March 2013 K.V.Nagesh Babu Assistant Professor Centre for Critical Media Praxis School of Media and Cultural Studies iii CONTENTS 1. Attractions of Cinema…………………………………………………………………….1-9 2. Understanding Cult Film……………………………………………………………….10-18 3. Looking Beyond Bollywood…………………………………………………………..19-23 4. Being and Becoming Gunda…………………………………………………………...24-39 5. More than Gunda and Loha……………………………………………………………40-43 6. List of Illustrations………………………………………………………………………...44 7....
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...E SSAYS ON TWENTIETH-C ENTURY H ISTORY In the series Critical Perspectives on the Past, edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig Also in this series: Paula Hamilton and Linda Shopes, eds., Oral History and Public Memories Tiffany Ruby Patterson, Zora Neale Hurston and a History of Southern Life Lisa M. Fine, The Story of Reo Joe: Work, Kin, and Community in Autotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th John McMillian and Paul Buhle, eds., The New Left Revisited David M. Scobey, Empire City: The Making and Meaning of the New York City Landscape Gerda Lerner, Fireweed: A Political Autobiography Allida M. Black, ed., Modern American Queer History Eric Sandweiss, St. Louis: The Evolution of an American Urban Landscape Sam Wineburg, Historical Thinking and Other Unnatural Acts: Charting the Future of Teaching the Past Sharon Hartman Strom, Political Woman: Florence Luscomb and the Legacy of Radical Reform Michael Adas, ed., Agricultural and Pastoral Societies in Ancient and Classical History Jack Metzgar, Striking Steel: Solidarity Remembered Janis Appier, Policing Women: The Sexual Politics of Law Enforcement and the LAPD Allen Hunter, ed., Rethinking the Cold War Eric Foner, ed., The New American History. Revised and Expanded Edition E SSAYS ON _ T WENTIETH- C ENTURY H ISTORY Edited by ...
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