1 - 10 of 12 articles
Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range...
Abstract Unfaithfully Yours , released in 1948, was the last major film to be written, produced, and directed by Preston Sturges. It ranks high in importance as a late example of “screwball” comedy from the genre's golden age, and as one of the funniest features about classical music ever made....
Abstract Schumann's music took its place alongside that of many other nineteenth-century composers in the lexicon of silent-film accompaniment. Evidence of early-twentieth-century scoring practices indicates that “Träumerei” quickly proved to be an especially popular choice for scenes of pathos...
Abstract The very last scene of Andrei Tarkovsky's film Stalker (1979) portrays a young girl who moves glasses around on a table just by fixing her eyes on them. As she performs this magical act the “Ode to Joy” from Beethoven's Ninth Symphony, alongside the sound of a passing train, briefly...
Abstract I argue that Quantum of Solace , the 2008 James Bond movie, marks a change in the conception of the opera visit in film, which typically shows opera in an idealizing light. Quantum 's opera visit, which may be a “first” in an action film, signifies detachment and encapsulates the...
Abstract Music has often been used to symbolize and express ontological experiences. This article explores a mode of nineteenth-century self-audition where music captures a glimpse of the freedom that lies at the core of the subject. This mode of listening has intensified with the development of...
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