Composing for the Films / Edition 1

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Overview


This classic account of the nature of film music aesthetics was first published in 1947. Its value comes from a unique combination of talents and experience enjoyed by the book's authors. Eisler's time at Hollywood gave him a particular insight on the technical questions which arise for composers when music is used in the production of films; while Adorno was able to contribute on wide aesthetic and sociological matters as well as specifically musical questions. Above all, the authors envisaged the book as a contribution to the study of modern, industrialised culture; and, in this respect, it has a particular importance to the whole area of cultural studies.
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Product Details

  • ISBN-13: 9780826499028
  • Publisher: Bloomsbury Academic
  • Publication date: 12/11/2007
  • Series: Continuum Impacts
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 176
  • Sales rank: 1,031,363
  • Product dimensions: 5.10 (w) x 7.70 (h) x 0.60 (d)

Meet the Author


Theodor W. Adorno (1903-69) was a founder and arguably the foremost thinker of the Frankfurt School. He worked with Max Horkheimer at the New York Institute for Social Research and later taught at the University of Frankfurt until his death in 1969. His work has proved enormously influential in sociology, philosophy and cultural theory.

Hanns Eisler (1898-1962) began composing for films in the late 1920s. He emigrated to the US in the 1930s where he write a number of scores for Hollywood productions, including None But The Lonely Heart and Renoir's The Woman on the Beach.

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Table of Contents

New Introduction by Graham McCann

Preface

Introduction

1. Prejudices and Bad Habits

2. Function and Dramaturgy

3. The New Musical Resources

4. Sociological Aspects

5. Elements of Aesthetics

6. The Composer and the Movie-Making Process

7. Suggestions and Conclusions

Appendix: Report on the Film Music Project Fourteen Ways to Describe Rain

Index

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