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MANVELL Roger
Film
PENGUIN BOOKS. 1950. In-12. Broché. Bon état, Couv. défraîchie, Dos satisfaisant, Intérieur frais. 287 pages. Nombreuses photos en noir et blanc, hors-texte. Ouvrage en anglais.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
Reference : RO80036353
A Pelican Book. Classification Dewey : 420-Langue anglaise. Anglo-saxon
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5 book(s) with the same title
Cinema Changes: Incorporations of Jazz in the Film Soundtrack
, Brepols, 2019 Hardback, xxvi + 334 pages, Size:210 x 260 mm, Illustrations:35 b/w, 26 musical examples, Language: English. ISBN 9782503584478.
Summary Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new "multimedia" art form, soon incorporating music as one of cinema's privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music - in various form and with diverse and changing racial/social connotations - appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level. TABLE OF CONTENTS Emile Wennekes - Emilio Audissino Prologue: A Reel Jazz Survey Rendition / Reception Emile Wennekes Out of Tune? Jazz, Film and the Diegesis Phillip Johnston Jazzin' the Silents: Jazz and Improvised Music in Contemporary Scores for Silent Film Luca Stoll Cinema: A Privileged Way of Acquiring Intimacy with Jazz Standards Marida Rizzuti Play, My Fiddle, Play! Jazz and Klezmer at the End of the 1930s Randall Cherry Ethel Waters and the Search for Racial Redemption Jazz and National Cinemas Emilio Audissino The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study Nicolas Pillai Rhythms of the Everyday: an Alternative History of the British Jazz Film Philippe Gonin Jazz and Cinema: Which Jazz for Which Movies in France from 1945 to the early 1960s? Julio Arce - Celsa Alonso From the Chotis to the Charleston: Jazz in Spanish Films prior to the Civil War Roberto Calabretto Jazz Music in Michelangelo Antonioni's Films Willem Strank When Jazz Meets German Cinema: A Brief Overview Jason R. Hillebrand A Song Helps Us Live: The Narrative Function of Jazz in the Soviet Musical Film Jolly Fellows Case Studies Francesco Finocchiaro - Leo Izzo The Sound of the Nightmares: On the Jazz Music in Fritz Lang's Metropolis Ryan Patrick Jones Dignity in the Twilight of Minstrelsy: Race, Nuance, and Aspiration in Duke Ellington's Symphony in Black: A Rhapsody of Negro Life Adam Biggs The Blues and Dissonance in Michelangelo Antonioni's Blow-Up Armando Ianniello Umiliani, Trovajoli, and Rota: The Jazz Film Score of Boccaccio '70 Marcel Bouvrie Synergetic Jazz Score: The Narrative of the Relation between the Diegetic and Nondiegetic Music in Whiplash Mervyn Cooke 'The Same Goddamn Songs the Same Goddamn Way'? Makin' Whoopee with The Fabulous Baker Boys Abstracts Biographies Index of Names
Italian Film Music, 1950s-1970s. Between Tradition, Innovation, and Internationalisation
, Brepols, 2023 Hardback, 454 pages, Size:210 x 270 mm, Illustrations:32 b/w, 48 musical examples, Language(s):English, Italian. ISBN 9782503608464.
Summary The music heard in Italian cinema along the arch of the three decades highlighted in this book, has not only made history but has become an unspoken of patrimony of humanity. This book provides a platform to build a lasting tribute to those composers who were, indeed, the ?sounding? protagonists of hundreds of films - from Fellini's La dolce vita to Tornatore's Cinema Paradiso to a myriad of cultural documentaries and productions made for cinema and television. The book is divided into three parts comprising essays on the music of Nino Rota, lesser-known composers yet important on the national circuit like Carpi, Gervasio, Vlad, and Chailly, and four essays dedicated to the towering figure of Ennio Morricone whose legacy will continue to hover over Italian cinema of the 50s-70s for many decades to come. An introductory essay, 17 chapters annotated and provided with musical examples, tables, and iconographic material written by internationally known academics specialised in Italian film music; bibliographies and abstracts following each essay; biographies of the contributing authors; and an index organized by names and subjects, make this volume an indispensable research tool free of geopolitical barriers and ideological constrains in the bourgeoning field of Film Music. TABLE OF CONTENTS Franco Sciannameo Preface Part One: One the Road with Nino Rota Giada Viviani Un viaggio audiovisivo lungo il Po. Mario Soldati e Nino Rota agli esordi della televisione Francesco Finocchiaro We Were the Leopards : Strategies of Adaptation from Tomasi di Lampedusa to Visconti & Rota Anna Igielska Visconti's Integration of Opera Excerpts: Towards a Comparative and International Perspective Pasquale Giaquinto 'Kremmerzian' Influence in Nino Rota's Music for the Cinema of Federico Fellini: 'Rosa Aurata' in Giulietta degli spiriti (1965) Franco Sciannameo Fellini's Melophobia, Rota and Prova d'orchestra Part Two: Homages, Considerations, New Horizons Franco Sciannameo L'Armata Brancaleone and the Musical that Never Was Antonio Ferrara La grottesca combinazione audiovisiva di un pastiche parodistico di danze: l'allestimento musicale di Sedotta e abbandonata Marida Rizzuti Film Music in the Concert Programs of the Orchestre Sinfoniche della RAI of Milan and Rome Oreste Palmiero Fiorenzo Carpi e il cinema (con un catalogo delle sue colonne sonore e un contributo biografico) Beatrice Birardi Comporre con spontaneit controllata : la musica per film secondo Raffaele Gervasio Anna Scalfaro Music for TV Dramas by Luciano Chailly Marco Cosci How Does the Italian Cultural Heritage Sound? The Case of Roman Vlad's Documentary Music Giacomo Albert Sound in Italian Experimental Cinema 1950s-1970s: Between Audiovisual Counterpoint, Deconstructions, Asynchronies, Remediations, and Collages Part Threee: Ennio Morricone beyond Absolute Music Hugh Maloney Film Music as Greek Chorus: Ennio Morricone and Il ritorno di Ringo Antonella Coppi - Stefano Cucci Unusual Linguistic and Syncretic Opposites in the Music of Ennio Morricone Alessandro Mastropietro Informal Film Music: Morricone, De Seta and Un uomo a met (1966) Maria Birbili Sam Fuller's and Ennio Morricone's White Dog: Auteur Cinema Meets the Civil Rights Movement Abstracts and Biographies Index of Names
La Coquille et le clergyman - The Seashell and the Clergyman. Film, suivi du livre de Alain et Odette Virmaux : Essai d'élucidation d'une querelle mythique / An attempt to shed light on a mythic incident.
Paris : Light Cone / Paris Expérimental, 2009. Coffret comprenant un DVD comprenant le film La Coquille et le Clergyman (35mn), suivi de deux films conçus par Nicolas Droin et Prosper Hillairet : Surimpressions (33mn) : De la genèse du film à sa place dans l’histoire du cinéma et Tumultes aux Ursulines (15mn) sur la première mouvementée du film au Studio des Ursulines le 9 février 1928, où les Surréalistes, Breton et Aragon en tête, ont chahuté violemment la projection + Livre de Alain et Odette Virmaux de 158 pages illustré de planches hors texte. Textes en français et en anglais. Etat neuf.
Film d'avant-garde mythique réalisé par Germaine Dulac à partir d'un scénario d'Antonin Artaud, La Coquille et le clergyman suscita un scandale lors de sa sortie le 9 février 1928. A partir de témoignages multiples, portant sur le tournage du film, la personnalité de ses deux initiateurs et les prises de position du groupe surréaliste, Odette et Alain Virmaux analysent les arguments d'une fameuse querelle.
Marcel Broodthaers and Film A Second of Eternity
Leuven, Leuven University Press, 2024 Softcover, 280 pagina's, 23.5 x 15.5 cm. Illustrated. ENG text . ISBN 9789462704312.
Marcel Broodthaers, one of the key figures of the postwar avant-garde, has been recognized and extensively studied as a poet who became a visual artist in 1964. However, years before creating his first sculptural objects and installations, Broodthaers made his debut as a filmmaker in 1957 with La Clef de l?horloge, embarking on a prolific cinema practice that yielded more than fifty films shot on 35mm and 16mm. Cinema, both as a medium and principle, was crucial to his artistry. Broodthaers's writings and visual oeuvre are permeated with allusions to film, its history, and its technology. Covering both well-known titles such as Le Corbeau et le renard (1967), La Pluie (1969), and Une Seconde d? ternit (1970) as well as many lesser-known Broodthaers films, the essays in this book discuss his films as inseparable from his entire oeuvre while situating them in the larger history of experimental film. In addition, the book scrutinizes his experiments with cinepoetry and expanded cinema, as well as his interest in early cinema and his fascination with signs and inscriptions. Marcel Broodthaers and Film brings together essays by Andrew Chesher, Eric C. H. de Bruyn, Xavier Garc a Bard n, Charlotte Friling, Steven Jacobs, Bruce Jenkins, Deborah Schultz, Christophe Wall-Romana, and Raf Wollaert. Steven Jacobs is an art historian specializing in the relations between art and film. He teaches at Ghent University and the University of Antwerp. Raf Wollaert completed a PhD on the subject of Marcel Broodthaers?s cinema at the University of Antwerp in 2024.
Learning with Light and Shadows. Educational Lantern and Film Projection, 1860-1990
, Brepols, 2023 Hardback, 268 pages, Size:156 x 234 mm, Illustrations:25 b/w, 37 col., 5 tables b/w., Language: English. ISBN 9782503599045.
Summary Since the early 19th century, European pedagogical theory has stimulated a didactic turn towards the visual as an alternative to textual mediations of knowledge through books and lectures. Pedagogues and policymakers who strove for a more child-centred approach to teaching were soon joined by media producers and marketers in their aim to transform the classroom into a multimodal space for learning. From the turn of the 20th century onwards, teachers were increasingly pressured to incorporate high-profile media technologies such as stereoscopes, lantern and film projectors into their lessons. This collection of essays focuses on European educational light projection, from its first appearance at the end of the nineteenth century through the 1990s, when digital image projection started to gradually replace analogue film, slide and overhead projectors. It explores the classroom use of these technologies. In doing so, it challenges top-down approaches to the introduction of new visual technology and questions discourses that characterize the relation of visual media technology to teachers as one of consumption. The studies in this volume demonstrate how everyday demands and preferences transformed the 'ideal' instructional culture as put forward by policymakers, producers and pedagogues, into distinctive didactic practices that worked around or went beyond the pre-imposed ways of usage of visual media products. The volume moves beyond the view of instructional technology as a one-way route to modernization and teaching efficiency. By laying bare the power relations, interests and ideologies at play, the contributions also lend insight into the intertwinement between politics, media, material culture and classroom practices. TABLE OF CONTENTS Nelleke Teughels, Kaat Wills, Introduction Introducing Light Projection in Education Frank Kessler & Sabine Lenk, The Emergence of the Projected Image as a Teaching Tool in Higher Education (1860-1914) Margo Buelens-Terryn, Taking the University to the People. The Role of Lantern Lectures in Extramural Adult Education in Early Twentieth-Century Brussels and Antwerp Jamilla Notebaard, Nico de Klerk, The Photographic Turn in Visual Teaching Aids: Films and Slides for Schools in the Netherlands, 1911-1926 Agents of Change Wouter Egelmeers, 'Deep and lasting traces'. How and Why Belgian Teachers Integrated the Optical Lantern in their Teaching (1895-1940) Audrey Hostettler, Progressive Education and Early Uses of Film in Swiss Schools Objects and Spaces of Change Nelleke Teughels, Teachers' Agency and the Introduction of New Materialities of Schooling: The Projection Lantern and Classroom Transformations in Antwerp Municipal Schools, c. 1900-1940 Michael Markert, Casting Long Shadows on the Teaching of Experimental Physics. The Projection Techniques of Robert Wichard Pohl (1884-1976) Joachim Sch tz, DIY versus DITMAR 1006: The Economics, Institutional Politics and Media Ecology of Classroom Projectors Made in 1950s Austria The political Made Visual Sabrina Meneghini, Lantern Slides in Geography Lessons: Imperial Visual Education for Children in the British Colonial-Era Kerrin Klinger von Engelhardt, Complex Sssociations: On the Emotional Impact of Educational Film in the German Democratic Republic (1950-1990)
