Relevant bibliographies by topics / Steiner (Firm)

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  2. Dissertations / Theses
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Academic literature on the topic 'Steiner (Firm)'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Steiner (Firm)"

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Wahidawati, Wahidawati. "ANALISIS PERSAMAAN SIMULTAN DARI TOBIN’S Q, KEPEMILIKAN MANAJERIAL DAN KEBIJAKAN UTANG." EKUITAS (Jurnal Ekonomi dan Keuangan) 9, no. 1 (January 1, 2007): 93. http://dx.doi.org/10.24034/j25485024.y2005.v9.i1.2375.

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The purpose of this research to estimates a simultaneous equations model with Tobin’s Q (firm value), managerial ownership and debt policy jointly determined within the system. This research is based on the pre¬vious¬ research by Chen and Steiner (2000), which found that managerial ownership tobe a significant and positive determinant of the level Tobin’s Q. Chen and Steiner (1999) observed evidence of subtituons-monitoring effects between managerial ownership and debt policy.The research is focused on manufacturing companies listed in BEJ for periode 1999-2002.The method of data collection is done by using pooling method and give 151 firm year observation.This research uses a non linear simultaneous equation methodology with use the statistical method two stage least square. The result of research provides empirical evidence : First, that managerial ownership has a non linear relation with Tobin’s Q (we find support for both an alignmenteffect and an entrenchment effectin the relationship between managerial ownership and Tobin’s Q. second, The result supports the argument that managerial ownership helps to resolve the agency conflicts between stock holder and manager. The result also indicate that there is not subtitu¬ta¬bi¬li¬ty between debt and managerial ownership.
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Wahidahwati, Wahidahwati. "KEPEMILIKAN MANAJERIAL DAN AGENCY CONFLICTS: ANALISIS PERSAMAAN SIMULTAN NON LINIER DARI KEPEMILIKA N MANAJERIAL, PENERIMAAN RISIKO (RISK TAKING), KEBIJAKAN UTANG DAN KEBIJAKAN DIVIDEN." EKUITAS (Jurnal Ekonomi dan Keuangan) 7, no. 2 (December 20, 2016): 105. http://dx.doi.org/10.24034/j25485024.y2003.v7.i2.1975.

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The purpose of this research to examine how managerial ownership relate to risk taking, debt policy and dividend policy. This research is based on the previous research by Chen and Steiner (1999), which found that risk tobe a significant and positive determinant of the level managerial ownership while managerial ownership is also significant and positive determinant of the level of risk. Chen and Steiner observed evidence of subtituons-monitoring effects between managerial ownership and debt policy, managerial ownership and dividend policy, and between managerial ownership and institutional ownership. The research is focused on manufacturing companies listed in BEJ for periode 1993-1996.The method of data collection is done by using pooling method and give 103 firm year observation. This research uses a non linear simultaneous equation methodology with use the statistical method two stage least square. The result of this research shows that risk tobe a significant and negative determinant of the level of managerial ownership while managerial ownership is also significant and negative determinant of the level of risk. The result not supports the argument that managerial ownership helps to resolve the agency conflicts between stock holder and manager. The result also indicate that there is not subtitutability between debt and managerial ownership dan between dividend and managerial ownership, but this research evidence of subtitutions-monitoring effect between managerial ownership and institutional ownership.
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Corbett, Jack. "Werner Herzogs Burgeoning Voice in The Great Ecstasy of the Woodcarver Steiner." Film Matters 10, no. 2 (September 1, 2019): 7–13. http://dx.doi.org/10.1386/fm_00002_1.

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At forty-three minutes long, The Great Ecstasy of the Woodcarver Steiner (1974) narrowly fulfills the forty-minute requirement of feature length. This duration places the film as Werner Herzogs third feature-length documentary out of the current total of twenty-eight. The film was initially aired on television in West Germany as part of an hour-long episodic sports series. It follows Walter Steiner, the world champion ski jumper, as he practices for and then participates in a competition in Yugoslavia. Visually, the film unfolds on the steep, snowy slopes. The narrative, however, is created from three voices: Steiner himself, Herzogs voice-over, and finally, at the mandate of the West German Television Station, Herzog as an on-camera reporter (Cronin 117). In the film, he waits at the slope of the mountain to see how Steiners jump unfolds, but the Herzog in the studio already knows the result. The shift of forcing an additional voice has pushed the comparably omniscient voice-over further into the subjective mode so there can be a differentiation between the two different voices.
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PLATTE, NATHAN. "BeforeKongWas King: Competing Methods in Hollywood Underscore." Journal of the Society for American Music 8, no. 3 (August 2014): 311–37. http://dx.doi.org/10.1017/s1752196314000224.

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AbstractIn many histories of American film music, Max Steiner's score forKing Kong(1933) marks a new era by establishing norms in original, symphonic underscoring that would dominate Hollywood for decades.Kong's reign, however, eclipses diverse approaches to underscoring practiced at studios before and after its release. In this study, I compare the methods of Max Steiner at RKO and Nathaniel Finston at Paramount to show how both influenced film music implementation and discourse in the years leading up toKong. Steeped in the practices of silent cinema, Finston championed collaborative scoring and the use of preexistent music in films likeFighting Caravans(1931). Steiner preferred to compose alone and placed music strategically to delineate narrative space in films, as inSymphony of Six Million(1932), a technique he adapted for mediating exotic encounters in island adventure films precedingKong. Although press accounts and production materials show that Steiner and Finston's methods proved resilient in subsequent years,Kong's canonic status has marginalized Finston's role and threatens to misdirect appraisals of Steiner's other work. Considering Finston's practices at Paramount alongside Steiner's pre-Kongscores at RKO illuminates the limitations of using onlyKongas a model, and shows that Finston's perspective on film scoring in the early 1930s provides a corrective balance for understanding film musicians’ work before and afterKong.
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Bhaskarabhatla, Ajay, Priyatam Anurag, Chirantan Chatterjee, and Enrico Pennings. "How Does Regulation Impact Strategic Repositioning by Firms Across Submarkets? Evidence from the Indian Pharmaceutical Industry." Strategy Science 6, no. 3 (September 2021): 209–27. http://dx.doi.org/10.1287/stsc.2020.0121.

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We study coercive institutional pressures as an impetus for firms to reposition across intraindustry boundaries. Integrating the literatures on strategic repositioning and submarkets, we predict that firms respond to regulations limiting the profitability of a submarket by repositioning and shifting demand to proximate, unregulated submarkets within the industry. We expect repositioning to be more pronounced for firms with greater ability to shift demand across submarkets. Evidence from pharmaceutical firms’ responses to partial price regulation in India supports our hypotheses. Repositioning firms increase prices and sales in the unregulated submarket, consistent with a Dorfman–Steiner-type model of endogenous and costly demand shifting toward the unregulated submarket. We contribute to the literature on strategic repositioning and highlight challenges of regulating industries with internal boundaries and insulated niches.
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Biggs, Alan R., and W. W. Turechek. "Fire Blight of Apples and Pears: Epidemiological Concepts Comprising the Maryblyt Forecasting Program." Plant Health Progress 11, no. 1 (January 2010): 23. http://dx.doi.org/10.1094/php-2010-0315-01-rs.

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This article describes the fire blight prediction model Maryblyt, developed by Steiner and Lightner, and its recent release in the first Windows-compatible version. A brief discussion of the biological basis for the model is provided, including its integrated use of multiple cumulative heat unit “clocks.” Furthermore, we describe the recent release of Maryblyt v. 7 for Windows, which is available for free. Accepted for publication 1 December 2009. Published 15 March 2010.
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Patrona, Aikaterini, Kunal S. Patel, Evan D. Bander, Alpesh Mehta, Apostolos John Tsiouris, Vijay K. Anand, and Theodore H. Schwartz. "Endoscopic endonasal surgery for nonadenomatous, nonmeningeal pathology involving the cavernous sinus." Journal of Neurosurgery 126, no. 3 (March 2017): 880–88. http://dx.doi.org/10.3171/2015.8.jns15275.

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OBJECTIVE Surgery within the cavernous sinus (CS) remains a controversial topic because of the delicate and complex anatomy. The risk also varies with tumor consistency. Softer tumors such as pituitary adenomas are more likely to be surgically treated, while firm tumors such as meningiomas are often treated with radiosurgery. However, a wide range of pathologies that can involve the CS are amenable to surgery. The authors describe and analyze their results using endonasal endoscopic “medial-to-lateral” approaches for nonadenomatous, nonmeningeal tumors, in relation to the degree of invasion within the CS. METHODS A prospectively acquired database of consecutive endoscopic approaches for tumors with verified intraoperative CS invasion was reviewed. Pituitary adenomas and meningiomas were excluded. Degree of invasion of the CS was classified using the Knosp-Steiner (KS) grading system as well as the percentage of cavernous carotid artery (CCA) encasement. Extent of resection of the entire tumor and of the CS component was assessed by independent neuroradiologists using volumetric measurements of the pre- and postoperative MRI studies. Demographic data and complications were noted. RESULTS Fifteen patients (mean age 51.1 years who received endoscopic surgery between 2007 and 2013 met the selection criteria. There were 11 malignant tumors, including chordoma, chondrosarcoma, hemangiopericytoma, lymphoma, and metastatic cancer, and 4 benign tumors, including 3 cavernous hemangiomas and 1 dermoid. All cases were discussed before treatment in a tumor board. Adjuvant treatment options included chemotherapy and radiotherapy. The mean pre- and postoperative tumor volumes were 12.74 ml and 3.86 ml. Gross-total resection (GTR; ie, resection greater than 95%) was the goal in 13 cases and was achieved in 6 patients (46%) while in addition 5 patients had a greater than 80% resection. Gross-total resection in the CS was accomplished in 55% of the tumors with KS Grades 1–2 and in 16.6% of the tumors with KS grades 3–4, respectively. Likewise, GTR was accomplished in 55% of the tumors with CCA encasement under 75% and in 14.3% of the lesions with CCA encasement over 75%, irrespective of tumor volume and underlying pathology. There were 18 preexisting cranial neuropathies involving cranial nerves III–VI, of which 9 fully resolved, 4 improved, and 3 remained unchanged; 2 of these worsened with tumor recurrence. Surgical complications included 1 transient new cranial nerve VI palsy associated with Horner's syndrome and 1 case of panhypopituitarism. There were no postoperative CSF leaks and no infections. The mean extended follow-up was 34.4 months. CONCLUSIONS Endonasal endoscopic approaches can play a role in the management of nonmeningeal, nonadenomatous tumors invading the CS, either through biopsy, debulking, or GTR. An advantage of this method is the relief of preexisting cranial neuropathies with low risk for new neurological deficit. Extent of resection within the CS varies with KS grade and degree of carotid encasement irrespective of the underlying pathology. The goals of surgery should be clearly established preoperatively in consultation with radiation and medical oncologists.
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Turechek, William W., and Alan R. Biggs. "Maryblyt v. 7.1 for Windows: An Improved Fire Blight Forecasting Program for Apples and Pears." Plant Health Progress 16, no. 1 (January 2015): 16–22. http://dx.doi.org/10.1094/php-rs-14-0046.

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This article describes updates found in Version 7.1 of the fire blight prediction model Maryblyt, originally developed by Paul Steiner and Gary Lightner. In addition, a brief history of the development of the Maryblyt model is given. The article ends with examples comparing the performance of Version 7.1 to Version 4.3c, the last version that was validated and released prior to its upgrade to Maryblyt 7.0 for Windows. We show that Version 7.1 provides results nearly identical to the previously validated DOS version 4.x. Accepted 22 December 2014. Published 27 January 2015.
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Benson-Allott, Caetlin. "On Platforms." Film Quarterly 72, no. 4 (2019): 68–73. http://dx.doi.org/10.1525/fq.2019.72.4.68.

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FQ Columnist Caetlin Benson-Allott explores the complex ethical dimensions of Free Solo, Elizabeth Chai Vasarhelyi and Jimmy Chin's Oscar-winning documentary about Alex Honnold's death-defying “free solo” climb of El Capitan, Yosemite's legendary three-thousand-foot granite cliff. Benson-Allott asks how our understanding that Honnold could die on camera, a probability that the film reflexively acknowledges, violates the spectatorial contract that exists between films and their audiences. She also probes the gendered strategies employed by Free Solo's in its representation of risk, which she discusses in comparison to other documentaries, including Werner Herzog's Grizzly Man and The Great Ecstasy of Woodcarver Steiner.
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Steir-Livny, Liat. "Is it OK to laugh about it yet? Hitler Rants YouTube parodies in Hebrew." European Journal of Humour Research 4, no. 4 (January 29, 2017): 105. http://dx.doi.org/10.7592/ejhr2016.4.4.steir.

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The Holocaust was and remains a central trauma in Israel’s collective memory. For many years, the perception was that a humorous approach to the Holocaust might threaten the sanctity of its memory. Official agents of the Holocaust memory continue to believe in this approach, but since the 1990s, a new unofficial path of memory began taking shape in tandem with it. It is an alternative and subversive path that seeks to remember – but differently. In the last decade, YouTube has become a major cultural field including new humorous representations and images of the Holocaust. The article analyses a virtual phenomenon – “Hitler Rants” (or “Hitler Reacts”) parodies in Hebrew. These are internet memes in which surfers take a scene from the German film Downfall (Oliver Hirschbiegel 2004), showing Hitler ranting at his staff as the end of WWII approaches, and they add parodic subtitles in which Hitler rants about completely different things – current affairs and pesky little details. The incompatibilities between the visuals, the German screaming, and the subtitles turn Hitler into a ludicrous individual. The article objects to the notion that views the parodies as “cheapening” the Holocaust, and rather claims that they underscore humour’s role as a defence mechanism. Israelis, who live in a society in which the Holocaust memory is intensive and creates constant anxiety, seek to lessen reactions of tension and anxiety, even for a few minutes, and they do so through humour.
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Dissertations / Theses on the topic "Steiner (Firm)"

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Slowik, Michael James. "Hollywood film music in the early sound era, 1926-1934." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.

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This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film music practices and paved the way for the heavily studied Golden Age of film music (1935-1950). In fact, a host of film scores preceded King Kong, scores which with rare exceptions have received no attention. Due to this inattention, scholars have mischaracterized the nature of late 1920s and early 1930s sound film, overlooked important and unusual early sound film music strategies and failed to offer any satisfactory account for the rise of the Golden Age of film music. Based on screenings of hundreds of early sound films, I demonstrate that the early sound era featured a wide array of musical approaches rather than a single-minded avoidance of nondiegetic music. Drawing upon musical techniques from opera, melodrama, musicals, phonography, radio, and silent films, the early sound era featured an eclectic mix of accompaniment practices. Though early synchronized sound films largely adhered to a silent film music model, the advent of synchronized dialogue encouraged the use of several other conflicting musical accompaniment models. The late 1920s featured a substantial reduction in musical accompaniment, but the period still contained a diverse array of film score experiments rather than a total avoidance of nondiegetic music. By the early 1930s, a more consistent musical approach emerged, in which music was tied to unfamiliar settings or heightened internal mental states. This tactic exerted a considerable influence on King Kong's score and continued to be influential on musical accompaniment practices in the classical era. The first chapter surveys a range of musical influences available to film music practitioners in the years leading up to the transition to sound. Chapter two then analyzes the film score in early synchronized films and part-talkies from 1926-1929, while chapter three examines the use of music in "100% talkies" from 1928-1931. After chapter four discusses the special case of the film score in the early musical from 1929-1932, chapter five examines the score for non-musicals from 1931 to just before the release of King Kong in April of 1933. In light of the plethora of pre-King Kong scores discussed in this study, chapter six offers a radical revision of King Kong's contribution to film music history. Finally, the Conclusion examines the early sound score's legacy in the Golden Age of film music.
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Steimer, Henrike [Verfasser], and Monika [Akademischer Betreuer] Schnitzer. "Geographic frictions, ICT access, and firm organization : microeconometric evidence from administrative data / Henrike Steimer ; Betreuer: Monika Schnitzer." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2018. http://d-nb.info/1162840552/34.

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Steimer, Henrike Verfasser], and Monika [Akademischer Betreuer] [Schnitzer. "Geographic frictions, ICT access, and firm organization : microeconometric evidence from administrative data / Henrike Steimer ; Betreuer: Monika Schnitzer." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2018. http://nbn-resolving.de/urn:nbn:de:bvb:19-225370.

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Pioch, Sebastian. "Recherche beim Spielfilm warum Authentizität die Qualität eines Films steigert." Hamburg Diplomica-Verl, 2007. http://d-nb.info/989861015/04.

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Pioch, Sebastian. "Recherche beim Spielfilm : warum Authentizität die Qualität eines Films steigert /." Hamburg : Diplomica Verl, 2008. http://d-nb.info/989861015/04.

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Wuggenig, Julia [Verfasser], and Reinhard [Akademischer Betreuer] Steiner. "Intermedialität und die Zukunft des Films als Bindeglied zwischen Kino und Museum am Beispiel der Filme "The Mill and the Cross", "Shirley - Visions of Reality" und "Passion" / Julia Wuggenig ; Betreuer: Reinhard Steiner." Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2018. http://d-nb.info/1165574500/34.

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Steinert-Lieschied, Oliver [Verfasser], Barbara [Akademischer Betreuer] Schaff, Ralf [Gutachter] Haekel, and Regina [Gutachter] Bendix. "Ende des neuseeländischen Kinos? : Eine kulturmaterialistische, filmgeografische Studie zur Bedeutung von Nation und location im Kontext der Globalisierung / Oliver Steinert-Lieschied ; Gutachter: Ralf Haekel, Regina Bendix ; Betreuer: Barbara Schaff." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2016. http://d-nb.info/1121909655/34.

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Leinberger, Charles Francis 1955. "An Austrian in Hollywood: Leitmotifs, thematic transformation and key relationships in Max Steiner's 1942 film score, "Now, Voyager"." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290651.

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Austrian-born composer Max Steiner (1888-1971), who moved to Hollywood, California (U.S.A.) in 1929, brought to the American cinema a style of composition inspired by the works of Richard Wagner, Gustav Mahler and Richard Strauss. In spite of his profound influence on this new style of American music, very little detailed analysis of his film scores has been done. Biographical information is presented here with emphasis on the events leading up to and including the composition of the Academy-Award-winning score for the 1942 Warner Brothers film, Now, Voyager. The process of film score analysis is also briefly discussed, as well as the availability of unpublished film scores at various film archives in the United States. The body of this paper presents a detailed analysis of the harmonic, melodic and rhythmic elements that make up the seven main themes in the Now, Voyager score, as well as the transformation of those themes throughout the film. Leitmotifs and changes in tonality are an important part of this style, and they demonstrate a strong late-nineteenth-century romantic influence. These seven themes are consistently associated with the specific characters and situations as the film's narrative progresses. The relationship between these themes and the narrative of the film is discussed. Like Wagner and Strauss, Steiner has assigned themes to each main character and situation, and he applies the leitmotif technique to each of these themes. The consistency with which these themes occur simultaneously with their corresponding characters or situations on the screen is obviously intentional. The timing of these musical events in synchronization with the visual images is always very precise. Attempting such precise timing, however, could have easily resulted in a score that lacks any kind of unity or structure. The fact that all of these musical events are put together to form a logical and coherent score clearly exhibits a great sense of craftsmanship.
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D'ALOIA, ADRIANO. "L'EMPATIA NELL'ESPERIENZA FILMICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/788.

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Negli ultimi decenni i film studies stanno spostando la propria attenzione sul livello corporeo e affettivo dell’esperienza filmica. Adottando un approccio fenomenologico e focalizzandosi sulla nozione di empatia, la tesi studia le strategie del coinvolgimento dello spettatore cinematografico nei film di successo contemporanei. Il capitolo 1 rintraccia le diverse accezioni di empatia in filosofia, estetica, psicologia e nelle neuroscienze cognitive. Il capitolo 2 traccia una genealogia dell’empatia nelle teorie psicologiche ed estetiche del film. Il capitolo 3 esplora la rilevanza della teoria dell'atto empatico di Edith Stein per la filmologia e ne propone un'applicazione allo studio dell’esperienza filmica contemporanea. Il capitolo 4 analizza un ampio corpus di film contemporanei individuando quattro “figure aree” del coinvolgimento filmico: l’acrobazia, la caduta, il volo e il movimento in assenza di gravità. Attraverso la simulazione empatica dei movimenti nel film e del film, lo spettatore esperisce inavvertitamente l’intenzionalità implicata nelle forme e negli oggetti della rappresentazione, cogliendo con la propria sensibilità il senso di un’esperienza che trascende l’immanenza del film e contribuisce al processo di attribuzione di senso al Mondo, all’Altro e al Sé.
In recent decades film studies have shifted their focus to the emotional and bodily level of film experience. By adopting a phenomenological approach, this dissertation deals with the strategies of the film spectator’s involvement in contemporary mainstream narrative films. Chapter 1 reconstructs the meanings of the notion of empathy in philosophy, aesthetics, psychology and neurocognitive research. Chapter 2 traces a genealogy of empathy in film theories, from Bergsonism to Cognitivism, and evaluates the relevance of Simulation-Theory to film studies. Chapter 3 explores the relevance of Edith Stein’s phenomenological theory of empathy to film theory and assumes it is a theoretical model to investigate the “intensified” nature of both film design style and film reception style. A film is constructed and experienced on the basis of the “circuit of empathy”, a stratified system of different species of empathetic interaction, acting at senso-motorial, perceptual, cognitive and emotional levels with the aim of generating both an aesthetic and an inter-subjective experience. Chapter 4 analyses a vast corpus of contemporary films and focuses on four “aerial figures” of involvement and their combination: acrobatics, falling, flying, and non-gravitational movements, both of the actor’s human body and of the film’s anthropomorphic body. In the Conclusions, it is argued that the spectator internally imitates these “double” movements and inadvertently experiences the intentionality implied in the figures. Contemporary film spectators empathetically “get”, with their own sensibility, the senses of an experience that transcends the immanence of the film and contributes to the process of “giving” sense to the World, the Other, and the Self.
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Hluch, Alexander. "Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5946.

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Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages. Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history. With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Acting
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Books on the topic "Steiner (Firm)"

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Favardin, Patrick. Steiner et l'aventure du design. Paris: Norma, 2007.

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Cinematic modernism: Modernist poetry and film. Cambridge, U.K: Cambridge University Press, 2004.

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Platte, Nathan. Gone with the Wind, Part I. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0007.

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This chapter reconstructs the scoring of Selznick’s most famous film. The story interweaves several familiar anecdotes, such as Steiner’s furious discovery that another composer had been primed to replace him, into a more comprehensive, critical review of the full collaboration. Included are Steiner’s adaptation of musical ideas from Margaret Mitchell’s source novel, his divvying of the film’s music among multiple composers (Hugo Freidhofer, Adolph Deutsch, and Heinz Roemheld), Lou Forbes’s delicate negotiations with Selznick, the rejection and rewriting of critical passages of the score, the efforts of orchestrators, and the recording of the music with studio musicians. With archival materials ranging from Steiner’s doodled marginalia to Forbes’s legal files, a new impression of the score’s construction emerges: one in which a new level of involvement from Selznick prompts an unprecedented and vigorous style of musical collaboration—dubbed “Max Steiner and Co.”—that affected both process and product.
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Smith, Steven C. Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.001.0001.

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During a seven-decade career that spanned from 19th-century Vienna to 1920s Broadway to the golden age of Hollywood, three-time Academy Award winner Max Steiner did more than any other composer to establish and codify the language of film music. Composers today like John Williams use the same techniques perfected by the classically trained Steiner, in his scores for such motion pictures as Casablanca, King Kong, Gone with the Wind, The Searchers, Now, Voyager, the Astaire-Rogers musicals, and more than two hundred other titles. Steiner’s private life was as tumultuous as the films he scored. Born into an Austrian theatrical dynasty, he became one of Hollywood’s highest-paid composers. But he was constantly in debt, due to financial mismanagement, four marriages, and the actions of his emotionally troubled son. Steiner ended his career in triumph: at age 71, although practically blind, he wrote what Billboard called the most successful instrumental single of the era: “Theme from A Summer Place.” Throughout his chaotic life, Steiner was buoyed by a quick wit and an instinctive gift for melody, as he met and worked with a Who’s Who of artists: Johann Strauss Jr., Richard Strauss, George Gershwin, Irving Berlin, Oscar Hammerstein, David O. Selznick, Frank Sinatra, Frank Capra, and many more. This first full biography of Steiner brings to life the previously untold story of a musical pioneer and master dramatist who helped create a vital new art form (and multimillion-dollar industry), while writing many of the greatest scores in cinema history.
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Platte, Nathan. Variations on a Theme. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0004.

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After accepting an excellent offer from MGM in 1933, Selznick fostered a relationship with MGM composer Herbert Stothart. As with Steiner at RKO, Selznick’s penchant for longer scores helped jump-start the composer’s career. In contrast to Steiner’s drive for wholly “original” scores at RKO, however, Stothart preferred interweaving classical selections—a method born of the silent era that Selznick found attractive, even preferable. This chapter focuses on Stothart’s creative arranging of works by Beethoven, Wagner, Tchaikovsky, and others in a series of literary adaptations, including Night Flight (1933), David Copperfield (1935), Vanessa: Her Love Story (1935), Anna Karenina (1935), and A Tale of Two Cities (1935). Through these films, Selznick and Stothart fashioned a music model for the prestige film that Selznick carried forward in his independent productions.
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Platte, Nathan. “Together” for the Last Time in Since You Went Away. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0010.

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Rather than one score, Since You Went Away has slightly more than two: a rejected attempt by concert composer Alexandre Tansman and another by Max Steiner that includes multiple versions of many cues. In addition to these scores, Selznick’s notes on the score are voluminous, reflecting his desire to match his two consecutive “Best Pictures” (Gone with the Wind and Rebecca) while also contributing to the war effort through patriotic filmmaking. The result is a mixed but engrossing effort, characterized by biographer David Thomson as Selznick’s most personal film. The producer’s investment is evident throughout the score, and this chapter assesses both positive and negative consequences, including a failed attempt to engage Bernard Herrmann, Alexandre Tansman’s ignominious dismissal, Steiner’s pragmatic reuse of associative themes from earlier Selznick films, and a new, music-based publicity campaign led by Ted Wick.
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Max Steiner: Composing, Casablanca, and the golden age of film music. 2014.

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Platte, Nathan. Gone with the Wind, Part IIThe Music of “Max Steiner and Co.”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0008.

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References to the music of Gone with the Wind usually acknowledge two facets: the use of Civil War melodies and the reliance upon recurring themes, particularly the inevitably “swelling” Tara theme. Drawing upon original analysis, this chapter addresses the history behind the Tara theme—which was neither entirely new nor entirely the work of one composer—and the score’s gendered and racialized attributes (as well as the triumph of Mammy’s theme over both). In addition, the collaborative (and sometimes rejected) efforts of Max Steiner, Hugo Friedhofer, Adolph Deutsch, Heinz Roemheld, and Lou Forbes are assessed to revise our understanding of the score’s function within the film.
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Hanaway-Oakley, Cleo. Fin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0006.

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This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.
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Platte, Nathan. Making Music in Selznick's Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.001.0001.

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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).
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Book chapters on the topic "Steiner (Firm)"

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Hwang, Frank K. "A Proposed Experiment on Soap Film Solutions of Planar Euclidean Steiner Trees." In Combinatorial Optimization, 281–83. Boston, MA: Springer US, 2001. http://dx.doi.org/10.1007/978-1-4613-0255-1_8.

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Resing, John V., Pravinray D. Ghi, Dwayne E. Sloan, and Rall K. Laymon. "Measurement Uncertainty and Statistical Process Control for the Steiner Tunnel (UL 723, ASTM E84)." In Uncertainty in Fire Standards and What to Do About It, 43–55. 100 Barr Harbor Drive, PO Box C700, West Conshohocken, PA 19428-2959: ASTM International, 2011. http://dx.doi.org/10.1520/stp49301t.

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Resing, John V., Pravinray D. Ghi, Dwayne E. Sloan, and Rall K. Laymon. "Measurement Uncertainty and Statistical Process Control for the Steiner Tunnel (UL 723, ASTM E84)." In Uncertainty in Fire Standards and What to Do About It, 43–55. 100 Barr Harbor Drive, PO Box C700, West Conshohocken, PA 19428-2959: ASTM International, 2011. http://dx.doi.org/10.1520/stp154120120004.

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Hoch, Karl-Ludwig. "Hirsch, Ernst, und Dieter Zumpe: Die Steinerne Glocke. Der Wiederaufbau der Frauenkirche zu Dresden. Video-Cassette. Offizieller Film der Gesellschaft zur Förderung des Wiederaufbaus der Frauenkirche Dresden e. V. Folge 5. Dresden 2001." In Die Dresdner Frauenkirche, 221. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-04392-4_16.

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Hoch, Karl-Ludwig. "Hirsch, Ernst, und Dieter Zumpe: Die Steinerne Glocke. Der Wiederaufbau der Frauenkirche zu Dresden. Video-Cassette. Offizieller Film der Gesellschaft zur Förderung des Wiederaufbaus der Frauenkirche Dresden e. V. — Folge 4. Dresden 1998." In Die Dresdner Frauenkirche, 279. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-04405-1_20.

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Smith, Steven C. "Coda." In Music by Max Steiner, 395–408. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0026.

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Steiner was devastated by his son’s death. He was also now legally blind. But the ever-loyal Delmer Daves convinced Steiner to score his latest film—even though Max could not see it. The joy of composition revitalized Steiner, who would regain much of his sight via successful operations. More scoring projects followed; but by 1965, the 77-year-old was ailing and unable to find work. Steiner’s last years were ones of reluctant retirement, mentorship, and tribute—including a celebration of his work on the 1968 Academy Awards. This biography concludes with a summation of Steiner’s legacy. Not only is he the single most important figure in film music history, thanks to his pioneering development of the scoring process, his gift for intensifying emotion and character psychology through memorable themes, innovative orchestration, and other devices produced scores that remain essential components of many of the greatest films ever made.
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Smith, Steven C. "Battles Won and Lost." In Music by Max Steiner, 183–200. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0013.

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This chapter begins with a concise history of Warner Bros.—its inception, its combative founders, and the key role that music played in the studio’s releases. Steiner’s first work at Warners, The Charge of the Light Brigade, would be another milestone—a grand action-adventure score foreshadowing contemporary film music. Despite a tight deadline, and high expectations from producer Hal Wallis, Steiner triumphed, which made his return to Selznick all the more crushing. David’s increasing micromanagement extended to music; and Max was devastated when the producer who had called himself Steiner’s “biggest fan” eviscerated his score for A Star Is Born, Selznick’s latest film. A proud (if often insecure) individual, Steiner resigned his post at Selznick but stressed to the producer his desire to remain friends. His motives were not solely personal. Max knew that Selznick was about to film the most successful novel of the decade: Gone with the Wind.
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Smith, Steven C. "Working Night and Day." In Music by Max Steiner, 134–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0010.

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As musical director of RKO, Steiner oversaw music in all of the studio’s productions. At the same time, he was writing full scores for RKO’s most important releases. Workaholic by nature, Max loved the creative challenges dictated by such future film classics as Of Human Bondage and John Ford’s The Lost Patrol (a failure when previewed, until Steiner’s music added the missing element of tension). But his round-the-clock schedule was pushing the 46-year-old toward collapse. Finally, during the exhausting production of The Gay Divorcee, starring Astaire and Rogers, Steiner snapped, writing a sarcastic memo to RKO president B. B. Kahane. The twist-filled story of Steiner’s firing and rehiring is told here for the first time. Work was not Max’s only source of anxiety: Adolf Hitler was now chancellor of Germany, and Steiner feared for the safety of his parents in nearby Austria.
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Smith, Steven C. "Götterdämmerung." In Music by Max Steiner, 380–94. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0025.

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The strands of Steiner’s life emphasized in earlier chapters—his yearning for commercial success, his growing debts, and his emotional neglect of his son—reach their fulcrum here in ways both triumphant and tragic. After an anxious year of unemployment, Steiner found a sympathetic partner in director Delmer Daves. Daves’s 1959 film of a racy bestseller, A Summer Place, inspired 71-year-old Max to write a pastiche of dreamy ’50s rock ballads. Steiner had no commercial expectations for the tune, but a recording of the theme rose to Number One on the charts, won a Grammy (beating Elvis and Sinatra), and became the best-selling instrumental of the rock ’n’ roll era. Almost simultaneously, Steiner won his decades-long battle with ASCAP, which agreed to collect royalties on film music. Max would soon receive millions. But in 1962, Steiner received shattering news from which he’d never fully recover: his 22-year-old son, Ronald, had committed suicide.
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Smith, Steven C. "A Jewish Aloha." In Music by Max Steiner, 365–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0024.

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In 1953, at age 65, Steiner learned that Warner Bros. would not be renewing his contract. After 16 years as a staff composer, he was forced to freelance—an especially daunting challenge given his age and failing eyesight. This chapter focuses on the plight of a proud but increasingly debilitated man forced to reinvent himself, in an industry obsessed with youth and novelty. Still massively in debt, Steiner sought a fresh start in multiple ventures: his own publishing company (a flop) and another attempt at a hit song for a major film (The Caine Mutiny; Oscar nomination for score, but no hit record, alienating its makers). Fortunately, Jack Warner was willing to bring Steiner back to his studio on a per-film basis. The resulting scores belied Steiner’s age, culminating in his final screen masterwork: John Ford’s The Searchers.
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Conference papers on the topic "Steiner (Firm)"

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Velat, Christopher, Jelliffe Jackson, James F. Klausner, and Renwei Mei. "Cryogenic Two-Phase Flow During Chilldown." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56555.

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This work describes an experimental investigation of the transient two-phase flow behavior of liquid nitrogen flowing through a pipeline during the chilldown process. The evaporation process and flow regime transitions were observed during chilldown. Initially pure vapor is observed in the visual test section. Then a moving film boiling front is observed to move through the test section. The length of the film boiling front appears to be very small compared with the length of the facility pipeline. After the film boiling front passes through the test section, a very high velocity stratified two-phase flow appears with a small liquid film thickness. As the pipeline is chilled, the film thickness grows. It appears that the high velocity two-phase flow suppresses nucleate boiling, and the dominant heat transfer mechanism is two-phase bulk turbulent convection. Evaporation occurs at the liquid/vapor interface. A high-speed video camera is used to observe the flow regime transitions during the transient chilldown process. Flow regime comparisons have been made with the Steiner [1], Kattan-Thome-Favrat [2], and Baker [3] flow regime maps.
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