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Books on the topic 'Aesthetic of music for the silent film'

Author: Grafiati
Published: 9 March 2023

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1

Silent film sound. New York: Columbia University Press, 2004.

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2

Barton, Ruth, and Simon Trezise, eds. Music and Sound in Silent Film. New York : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2018. http://dx.doi.org/10.4324/9781315276274.

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3

Music and the silent film: Contexts and case studies, 1895-1924. New York: Oxford University Press, 1997.

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4

Houten, Theodore van. Silent cinema music in the Netherlands: The Eyl/Van Houten Collection of Film and Cinema Music in the Nederlands Filmmuseum. Buren, The Netherlands: F. Knuf Publishers, 1992.

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5

Robinson, David. Music of the shadows: The use of musical accompaniment with silent films, 1896-1936. [Pordenone: Giornate del cinema muto, 1990.

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6

Anderson, Gillian B. Music for silent films, 1894-1929: A guide. Washington: Library of Congress, 1988.

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7

Musik für über 1500 Stummfilme: Das Inventar der Filmmusik im Pariser Gaumont-Palace (1911-1928) von Paul Fosse = Musique pour plus de 1500 films muets : l'inventaire de la musique de film dans le Gaumont-Palace parisien (1911-1928) de Paul Fosse = Music for more than 1500 silent films : music inventory of the films shown at the Paris Gaumont-Palace (1911-1928) by Paul Fosse. Wien: Lit, 2017.

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8

Dietro un velo di organza: Il pensiero sulla musica cinematografica nell'era del muto. Torino: Accademia University Press, 2020.

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9

David, Robinson, Marti Jean-Christophe, and Sandberg Marc, eds. Musique et cinéma muet: 19 september 1995-7 janvier 1996, Musée d'Orsay. Paris: Réunion des musées nationaux, 1995.

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10

Story of a Bollywood song: Evolution of Hindi film music through stories. New Delhi: Abhinav Publications, 2013.

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11

Musik für den Stummfilm: Analysierende Beschreibung originaler Filmkompositionen. Frankfurt am Main: P. Lang, 1993.

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12

The sounds of the silents in Britain. New York: Oxford University Press, 2013.

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13

Nickelodeon theatres and their music. Vestal, N.Y: Vestal Press, 1986.

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14

Charlie Chaplin: Die Musik zu seinen Stummfilmen. München: ET+K, Edition Text + Kritik, 2020.

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15

From footlights to "the flickers": Collectible sheet music : Broadway shows and silent movies. Atglen, PA, USA: Schiffer Pub., 1998.

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16

Filmmusik in Theorie und Praxis: Eine Untersuchung der 20er und frühen 30er Jahre anhand des Werkes von Hans Erdmann. Frankfurt am Main: P. Lang, 1990.

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17

Musikabteilung, Pfälzische Landesbibliothek. Musik für den Stummfilm: Verzeichnis der Salonorchesterbestände in der Musikabteilung der Pfälzischen Landesbibliothek Speyer. Speyer: Pfälzische Landesbibliothek, 1995.

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18

The silent cinema in song, 1896-1929: An illustrated history and catalog of songs inspired by the movies and stars, with a list of recordings. Jefferson, N.C: McFarland & Co., 2008.

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19

Roullé, Antoine. Les Nibelungen de Fritz Lang, musique de Gottfried Huppertz: Une approche pluridisciplinaire. Paris: L'Harmattan, 2012.

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20

Fitzgerald, Michael G. Ladies of the western: Interviews with 25 actresses from the Silent Era to the television westerns of the 1950s and 1960s. Jefferson, N.C: McFarland, 2008.

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21

1940-, Magers Boyd, ed. Ladies of the western: Interviews with fifty-one more actresses from the silent era to the television westerns of the 1950s and 1960s. Jefferson, N.C: McFarland, 2001.

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22

1941-, Abel Richard, Altman Rick 1945-, and Domitor Conference (5th : 1998 : Library of Congress), eds. The Sounds of early cinema. Bloomington, IN: Indiana University Press, 2001.

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23

Siewert, Senta. Performing Moving Images. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.
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24

Platte, Nathan. In the Selznick Family Tradition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0002.

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This chapter begins with David Selznick’s apprenticeship in silent cinema under his father, Lewis J. Selznick, in New York. As with other directors and producers who learned film in the silent era, Selznick’s early experiences shaped his attitude to cinema, even long after the introduction of sound. This chapter argues that musical traces from Lewis J. Selznick’s films, such as sheet-music tie-ins from War Brides (directed by Herbert Brenon, 1916), and the father’s tense relationship with New York’s musically effusive exhibitor, Samuel “Roxy” Rothafel, are critical for understanding David Selznick’s use of music in later films as means for reconciling aesthetic and commercial aims. The chapter concludes with Selznick’s work at Paramount, the studio at which Selznick gleaned many important lessons concerning music in early sound films. A discussion of Selznick’s Four Feathers and The Dance of Life prepares the stage for the producer’s bolder musical operations at RKO.
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25

Lewis, Hannah. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0001.

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The introduction presents the book’s scope, approach, and organization. It recounts the history of the transition to synchronized sound film, which has largely been examined from the perspective of American cinema. However, because of aspects of French cinematic and musical culture that were unique to France, the transition unfolded in very different ways, becoming a hotly debated topic and resulting in divergent artistic responses. The introduction lays out the competing conceptions of sound film in France—for instance, its aesthetic proximity to either live theater or silent film, and its potential as a realist medium or a source of abstract fantasy—and the ways these conceptions played out in practitioners’ writings and films of the period. The films created during this “transitional” moment in filmmaking encourage us to reconsider long-held assumptions about the relationship between music and the moving image.
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26

Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.

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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.
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27

Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.

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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.
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28

Lewis, Hannah. Théâtre filmé, Opera, and Cinematic Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0005.

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Chapter 4 focuses on a famous debate between playwright Marcel Pagnol and film director René Clair. Pagnol was a successful playwright who was excited about film’s potential for recording live theater. His screenplays, perhaps most notably Marius, emphasized spoken dialogue, relegating music to a secondary role. Clair was a silent filmmaker who was interested in the poetic qualities of the image, and he feared that sound, particularly dialogue, would threaten cinema’s poetic potential. His film Le Million relied heavily on music, particularly live musical-theatrical forms like operetta and opera, to create alternative models for film’s sound–image relationship. The debate between Pagnol and Clair reveals diverging approaches to sound film, the aesthetic connections and tensions between live theater and cinema, and music’s importance in articulating those tensions.
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29

Film Music: History, Aesthetic-Analysis, Typologies. Leonard Corporation, Hal, 2019.

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30

Altman, Rick. Silent Film Sound. Columbia University Press, 2007.

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31

Girdwood, Megan. Modernism and the Choreographic Imagination. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481625.001.0001.

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Ranging from the late nineteenth to the mid-twentieth century, this book examines literary and choreographic representations of the figure of Salome, the biblical woman who danced for the head of St John the Baptist. The age of modernism witnessed an extraordinary cross-fertilisation of the arts of literature and dance, grounded in a shared appetite for formal experimentation and inter-related ideas about the representational capacities of the performing body. Following her conspicuous revival in the nineteenth-century French Symbolist movement, Salome became a focal point for these recurring interplays between text and performance, inspiring an unprecedented corpus of plays, fictions, paintings, dance performances, and silent films devoted to her ‘dance of the seven veils’. This book considers how Salome’s dancing body, across its numerous modernist iterations, framed critical questions about inter-arts collaboration, influence, aesthetic autonomy, and the porousness of different disciplines, thereby unsettling more traditional views of aesthetic hierarchies and related assumptions about female creative agency. Following salient versions of Salome from fin-de-siècle music halls and avant-garde theatres to the projects of the Ballets Russes, female film pioneers, and modernist playwrights, this book considers canonical authors such as Oscar Wilde, W. B. Yeats, and Samuel Beckett, as well as lesser-known but crucially influential performers, from the modern dancers Loïe Fuller and Maud Allan, to Ida Rubinstein, Alla Nazimova, and Ninette de Valois.
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32

Johnston, Phillip. Silent Films/Loud Music: New Ways of Listening to and Thinking about Silent Film Music. Bloomsbury Publishing Plc, 2023.

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33

Johnston, Phillip. Silent Films/Loud Music: New Ways of Listening to and Thinking about Silent Film Music. Bloomsbury Publishing Plc, 2021.

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34

Marks, Martin Miller. Music and the Silent Film: Contexts and Case Studies, 1895-1924. Oxford University Press, 1997.

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35

Music and the Silent Film: Contexts and Case Studies, 1895-1924. Oxford University Press, Incorporated, 1997.

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36

Leppert, Richard. Aesthetic Technologies of Modernity, Subjectivity, and Nature: Opera, Orchestra, Phonograph, Film. University of California Press, 2020.

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37

Aesthetic technologies of modernity, subjectivity, and nature: Opera · orchestra · phonograph · film. 2015.

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38

Music and Sound in Silent Film: From the Nickelodeon to the Artist. Taylor & Francis Group, 2018.

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39

Barton, Ruth, and Simon Trezise. Music and Sound in Silent Film: From the Nickelodeon to the Artist. Taylor & Francis Group, 2018.

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40

Monchick, Alexandra Shernan. Silent opera: The manifestations of film in opera during the Weimar Republic. 2010.

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41

Tieber, Claus, and Anna Katharina Windisch. Sounds of Silent Films. Palgrave Macmillan, 2014.

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42

Barton, Ruth, and Simon Trezise. Music and Sound in Silent Film: From the Nickelodeon to the Artist. Taylor & Francis Group, 2018.

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43

Barton, Ruth, and Simon Trezise. Music and Sound in Silent Film: From the Nickelodeon to the Artist. Taylor & Francis Group, 2018.

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44

Barton, Ruth, and Simon Trezise. Music and Sound in Silent Film: From the Nickelodeon to the Artist. Taylor & Francis Group, 2018.

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45

Barton, Ruth, and Simon Trezise. Music and Sound in Silent Film: From the Nickelodeon to the Artist. Taylor & Francis Group, 2018.

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46

Mazor, Barry. Country Music and Film. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.7.

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This chapter presents an overview of available writing and research materials within country music history and cinema studies disciplines on the interaction of commercial country music and theatrical motion pictures—how the music and its practitioners have been represented on-screen and reception of both have been affected by that representation, and how the music has contributed to films. The deficit in systematic resources for study is described—the lack of country music film archives, filmographies of related motion pictures, and dedicated catalogues. Literature (or its absence) engaging country music and the screen as they evolved and related in the silent, prewar sound, postwar country music boom, and post-1970 “New Hollywood” periods is outlined. How country music performances have served narratives and as self-contained cinematic elements are differentiated, and film’s continuing use as an agency for shaping country’s cultural respectability is outlined.
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47

Musique d'écran: L'accompagnement musical du cinéma muet en France, 1918-1995. Paris: Réunion des musées nationaux, 1994.

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48

Musique d'ecran: L'accompagnement musical du cinema muet en France, 1918-1995. Distribution Seuil, 1994.

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49

Davison, Annette, and Julie Brown. Sounds of the Silents in Britain. Oxford University Press, Incorporated, 2012.

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50

Neumeyer, David, ed. The Oxford Handbook of Film Music Studies. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195328493.001.0001.

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This volume explores the history and evolution of film music studies from the silent film to the sound film era. It examines the relevance of various theories, including ontological, feminist, queer, critical and apparatus theories, in film studies and analyzes the influence of theater or opera music on the development of film soundtrack. It also discusses the history of video game music and presents two case studies involving the analysis of the musical scores for Cecil B. DeMille’s The Ten Commandments and Terry Gilliam’s 12 Monkeys.
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