Arts and Humanities Commons^™

Howard Hawks, Dimitri Tiomkin, And The American West, Kathryn Kalinak

Kathryn M Kalinak

Forthcoming.

The Classical Film Score, Kathryn Kalinak

Kathryn M Kalinak

Forthcoming.

Film Musica: Un Introduzione Breva, Kathryn Kalinak

Kathryn M Kalinak

Forthcoming. Italian edition of Film Music: A Very Short Introduction.

“How Were We Going To Make A Picture That’S Better Than This?” Crossing Cultural Borders In Remakes: Rashomon And The Outrage, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

Music In The Western: Notes From The Frontier, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

Film Music: A Very Short Introduction, Kathryn Kalinak

Kathryn M Kalinak

Film music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world.

Film Music: A Very Short Introduction is a compact, lucid, and thoroughly engaging overview written by one of the leading authorities on the subject. After opening with a fascinating analysis of the music from a key sequence in Quentin Tarentino's Reservoir Dogs, Kathryn Kalinak introduces readers not only to …

How The West Was Sung: Music In The Westerns Of John Ford, Kathryn Kalinak

Kathryn M Kalinak

James Stewart once said, "For John Ford, there was no need for dialogue. The music said it all." This lively, accessible study is the first comprehensive analysis of Ford's use of music in his iconic westerns. Encompassing a variety of critical approaches and incorporating original archival research, Kathryn Kalinak explores the director's oft-noted predilection for American folk song, hymnody, and period music. What she finds is that Ford used music as more than a stylistic gesture. In fascinating discussions of Ford's westerns--from silent-era features such as Straight Shooting and The Iron Horse to classics of the sound era such as …

"Film Music", Kathryn Kalinak

Kathryn M Kalinak

9,000 word entry for "Film Music" in the Schirmer Encyclopedia of Film.

Typically American: Music For The Searchers, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

The Language Of Music: A Brief Analysis Of Vertigo, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

How The West Was Sung, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

'The Sound Of Many Voices': Music In The Films Of John Ford, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

Anmerkungen Zum Klassichen Hollywood-Filmscore, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

Disciplining Josephine Baker: The Case Of Princess Tam Tam, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

Disturbing The Guests With That Racket: Music And Twin Peaks, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.

Settling The Score: Music And The Classical Hollywood Film, Kathryn Kalinak

Kathryn M Kalinak

Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold's Captain Blood, Max Steiner's The Informer, Bernard Herrmann's The Magnificent Ambersons, and David Raksin's Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams' The Empire Strikes Backand Basil Poledouris' RoboCopdemonstrate how the traditions of the classical era continue to influence …

The Classical Hollywood Film Score: Max Steiner And The Informer, Kathryn Kalinak

Kathryn M Kalinak

No abstract provided.