Описание: In Music in Disney’s Animated Features James Bohn investigates how music functions in Disney animated films and identifies several vanguard techniques used inthem. In addition he also presents a history of music in Disney animated films, as well as biographical information on several of the Walt Disney Studios’ seminal composers.The popularity and critical acclaim of Disney animated features truly is built as much on music as it is on animation. Beginning with Steamboat Willie and continuing through all of the animated features created under Disney’s personal supervision, music was the organizing element of Disney’s animation. Songsestablish character, aid in narrative, and fashion the backbone of the Studios’ movies from Snow White and the Seven Dwarfs through The Jungle Book and beyond.Bohn underscores these points while presenting a detailed history of music in Disney’s animated films. The book includes research done at the Walt Disney Archives as well as materials gathered from numerous other facilities. In his research of the Studios’ notable composers, Bohn includes perspectives from familymembers, thus lending a personal dimension to his presentation of the magical Studios’ musical history. The volume’s numerous musical examples demonstrate techniques used throughout the Studios’ animated classics.
Описание: Silent Features is a collection of essays on seventeen feature-length silent films and two silent serial features, their diverse stylistic, generic and structural characteristics, and the national, historical and industrial contexts from which they emerged. Of the 17 films discussed, 15 are still currently available on DVD. 200 b&w illustrations.
Описание: Silent Features is a collection of essays on seventeen feature-length silent films and two silent serial features, their diverse stylistic, generic and structural characteristics, and the national, historical and industrial contexts from which they emerged. Of the 17 films discussed, 15 are still currently available on DVD. 200 b&w illustrations.
Taking the subject chronologically from the 1890s to when the book was initially published in 1989, this book analyses those films specifically concerned with working-class conditions and struggle, and discusses them within the context of the debate on the social significance of the feature film. It concentrates on films which depict labour organizations and political activists, as well as life in working-class communities and actors with working-class identities such as James Cagney.
Reviews of the original edition:
'...fills a gap in film studies...the study of social and labour history, and the development of popular culture in Britain and the United States.'
Описание: Transatlantic Crossings is a major study of the distribution and exhibition of British films in the USA. Charting the cross-cultural reception of many British films, Sarah Street draws on a wide range of sources including studio records, film posters, press books and statistics. While the power of Hollywood made it difficult for films that crossed the Atlantic, Street's research demonstrates that some strategies were more successful than others. She considers which British films made an impact and analyzes conditions that facilitated a positive reception from critics, censors, exhibitors and audiences. Case studies include Nell Gwyn (1926), The Private Life of Henry VIII (1933), The Ghost Goes West (1935), Henry V (1946), Black Narcissus (1947), The Red Shoes (1948), Ealing comedies, The Horror of Dracula (1958), Tom Jones (1963), A Hard Day's Night (1964), Goldfinger (1964), The Remains of the Day (1993), Four Weddings and a Funeral (1994) and Trainspotting (1996). Against a background of the economic history of the British and Hollywood film industries, Transatlantic Crossings considers the many fascinating questions surrounding the history of British films in the USA, their relevance to wider issues of Anglo-American relations and to notions of "Britishness" on screen.
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