Bernard Herrmann

2021 ◽  
Keyword(s):  
Film Music ◽  
Taxi Driver ◽  
Orson Welles ◽  
Concert Music ◽  
Wuthering Heights ◽  
Martin Scorsese ◽  
Film Scoring ◽  
The 1950S ◽  
1960S And 1970S ◽  
Concert Works

Bernard Herrmann (b. 1911–d. 1975) was a prolific American composer and conductor, known primarily for his work in film. He was also active, however, as a composer for radio and television, had written music for the concert and operatic stage, and had a prodigious conducting career later in his life. The majority of the current research on his oeuvre focuses on his film scoring and his collaborations with film directors such as Alfred Hitchcock, Orson Welles, François Truffaut, Martin Scorsese, and Brian De Palma. He started producing scores for films in 1941, with Welles for the film Citizen Kane, and died just after completing his work for Taxi Driver (dir. Scorsese, 1976). Prior to his experience in cinema, Herrmann wrote music for hundreds of radio dramas starting in the 1930s and continuing until the 1950s, which he credited for his ability to compose so readily for cinema. Herrmann’s most famous collaboration was with Hitchcock, which began with the film The Trouble with Harry (1955) and ended with Marnie (1964). The director-composer duo had a falling out in 1966 over Herrmann’s score to Torn Curtain, which Hitchcock refused to use; the director instead hired John Addison to replace Herrmann. Herrmann went on to compose scores for films by Truffaut, Scorsese, and De Palma in the 1960s and 1970s. While composing for cinema, Herrmann also wrote stock music for television, mainly for CBS, throughout the 1950s and 1960s. Herrmann also conducted concert and film music on several recordings released from 1966 through 1976, including some of his own concert works. In addition to an extraordinary output for film, radio, television, and recording, Herrmann also wrote concert music, some of which he considered most dear. He composed orchestral, ballet, and vocal music throughout his life, starting in his teens and until his death. His opera Wuthering Heights (1951) was especially important to him. In interviews, especially later in life, Herrmann emphasized that he was a composer of music—not one restricted to only film music—and even then, he regarded film music to be equal to that for the concert stage.

How the Federal Republic Became an Immigration Country: Norms, Politics and the Failure of West Germany's Guest Worker System

2006 ◽  
Vol 24 (3) ◽  
pp. 1-19 ◽  
Author(s):  
Triadafilos Triadafilopoulos ◽  
Karen Schönwälder
Keyword(s):  
United States ◽  
Federal Republic ◽  
The United States ◽  
German Society ◽  
Guest Worker ◽  
Economic Miracle ◽  
The 1950S ◽  
1960S And 1970S ◽  
Migration Law

With the passage of a new citizenship law in 1999 and the so-calledZuwanderungsgesetz (Migration Law) of 2004, contemporary Germanyhas gone a long way toward acknowledging its status as an immigrationcountry (Einwanderungsland). Yet, Germany is still regarded bymany as a “reluctant” land of immigration, different than traditionalimmigration countries such as Canada, the United States, and Australia.It owes this image to the fact that many of today’s “immigrants”were in fact “guests,” invited to work in the Federal Republicin the 1950s, 1960s and 1970s and expected to leave when they wereno longer needed. Migration was meant to be a temporary measure,to stoke the engine of the Economic Miracle but not fundamentallyalter German society. The question, then, is how did these “guestworkers” become immigrants? Why did the Federal Republicbecome an immigration country?

Margaret A. Simons, Rebel at Heart

2021 ◽  
Vol 31 (2) ◽  
pp. 317-335
Author(s):  
Margaret A. Simons ◽  
Erika Ruonakoski
Keyword(s):  
Civil Rights ◽  
Political Activism ◽  
Simone De Beauvoir ◽  
Women’S Liberation ◽  
Male Dominated ◽  
Liberation Movements ◽  
The 1950S ◽  
1960S And 1970S ◽  
The 1960S ◽  
Radical Ideas

Abstract In this interview, Margaret A. Simons describes her path to philosophy and existentialism, her struggles in the male-dominated field in the 1960s and 1970s, and her political activism in the civil rights and women’s liberation movements. She also discusses her encounters with Simone de Beauvoir and Beauvoir’s refusal to own her philosophical originality, suggesting that Beauvoir may have adopted a more conventional narrative of a female intellectual to circumvent the public’s resistance to her radical ideas in the 1950s.

Against Gentility

2020 ◽  
pp. 45-58
Author(s):  
William Wootten
Keyword(s):  
Concentration Camps ◽  
British Society ◽  
Nuclear War ◽  
The 1950S ◽  
1960S And 1970S ◽  
Formed Part ◽  
The 1960S

This chapter considers works emerging from the poetic movement which formed part of a much larger picture of progression from small pockets of anti-gentility in British society and culture in the 1950s to the much more pervasive societal shift of the 1960s and 1970s. Gentility was not simply repression by politeness, it was connected to the repressions of the culture at large: the emotional and social repression of ‘libido’ or ‘evil’, ‘two world wars’, ‘concentration camps’, ‘genocide’, ‘the threat of nuclear war’. A poet needs to confront ‘the fears and desires he does not wish to face’ and gentility serves to hide from this.

Conclusion

2020 ◽  
pp. 370-382
Author(s):  
Michael Goldfield
Keyword(s):  
United States ◽  
Civil Rights ◽  
Working Class ◽  
Civil Rights Movement ◽  
The United States ◽  
Political Landscape ◽  
United States Today ◽  
The 1950S ◽  
White Working Class ◽  
1960S And 1970S

The conclusion looks at the implications of the failure to organize southern workers for the United States today and asks how successful southern organizing might have led to different outcomes. Foremost is the possibility that the civil rights movement of the 1950s, 1960s, and 1970s would have been much more powerful if more white working-class support had been enlisted. This possibility, which the book asserts was real, had the potential to make the contemporary social and political landscape of the United States vastly different.

Core Principles of Educational Multimedia

2011 ◽  
pp. 130-136
Author(s):  
Geraldine Torrisi-Steele
Keyword(s):  
World War Ii ◽  
Learning Experience ◽  
Instructional Television ◽  
Computer Assisted ◽  
Sound Motion ◽  
The 1950S ◽  
1960S And 1970S ◽  
The 1960S ◽  
Assisted Instruction ◽  
Computer Resources

The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted throughout the 1930s, as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s but had little impact, due mainly to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it wasn’t until the 1980s that computers began to make a major impact on education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000).

Resurrecting ‘Lucifer’: The Transmedia Mythology of Harry Lime

Adaptation ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 13-35
Author(s):  
Scott Freer
Keyword(s):  
Moral Status ◽  
Ethical Issues ◽  
Entertainment Industry ◽  
Television Series ◽  
Graham Greene ◽  
Orson Welles ◽  
The Third ◽  
The 1950S ◽  
Creative Interventions ◽  
Cultural Amnesia

AbstractThis essay examines the transmedia mythology of the popular but also ‘evil’ character, Harry Lime, who, in The Third Man (1949) written by Graham Greene and directed by Carol Reed, is shot dead in the sewers of postwar Vienna. The romance of Lime begins with a famous ‘Wellesian’ performance, with Orson Welles drawing on a tradition of Shakespearean ‘heroic-acting’, and Reed’s alteration of Greene’s ‘happy’ closure that effectively underscores Hannah Schmidt’s hero-worshipping of a cult criminal figure. Both creative interventions established the platform for Lime’s ‘resurrection’ in the radio series, The Lives of Harry Lime (1951–52), the television series, The Third Man (1959–65), and Orson Welles’ film, Mr. Arkadin (1955). I argue that the moral rehabilitation of Greene’s fallen figure is indicative of postwar conformist entertainment industry and folk nostalgia for the wartime black marketeer as well as the differing ‘moral codes’ operating across transmedia platforms. But, whereas the radio and TV serializations conscript Lime into the detective-agent genre by burying the evil results of his penicillin racket, Mr. Arkadin de-romanticizes Lime and in turn exposes the cultural amnesia of the 1950s by returning to the 1949 film’s morality and Faustian image of a sadistic racketeer. Written in the spirit of Hans Blumenberg’s theory of myth-adaptation as ongoing ‘points of departure’, this essay debates the ethical issues at stake in this character-oriented misappropriation whereby the protagonist’s moral status is transformed across media platforms.

Searching for a Fresh Point of View

2018 ◽  
Vol 35 (3) ◽  
pp. 368-396
Author(s):  
Gina Bombola
Keyword(s):  
Film Music ◽  
Point Of View ◽  
New Production ◽  
Film Scores ◽  
Film Composition ◽  
Film Scoring ◽  
The North ◽  
Art Form ◽  
Post War ◽  
The One

In the early 1940s Aaron Copland cultivated an identity as an authority on film composition through public lectures, interviews, and his own film scores. Championing film music’s potential as a serious art form, Copland sought to show Hollywood that film composers could branch out from the romantic and post-romantic aesthetics that infused contemporary soundtracks and write in a more modern, even American, style. During the 1940s the film industry was already embracing an abundance of new production styles, techniques, and genres that fostered innovation in the development of cinematic musical codes. When Copland returned to Hollywood in 1948 to score William Wyler’s psychological melodrama The Heiress (1949), he chose to take on a set of new challenges. Copland attempted to discover a new idiom for love music, on the one hand, and began to use leitmotifs as a structural device, on the other. Copland’s experience with The Heiress opens a space in which to reassess his opinions about appropriate film-scoring techniques as well as his public endorsement of film composition. His perspectives on film composition—as demonstrated in his writings, correspondence, and film scores as well as in interviews and reviews of his film music—reveal a tension between the composer’s artistic sensibilities and his attitude toward the commercialism of film music. Indeed he maintained a more ambivalent attitude toward cinematic composition than he publically professed. Understood in this context, Copland’s scoring decisions in The Heiress reflect a turn away from the Americana of Rodeo (1942) and Appalachian Spring (1944) and the Russian-themed score of The North Star (1943), as he sought to refashion his identity as a composer in the post-war years.

Back to Television?

2017 ◽  
Author(s):  
John Caps
Keyword(s):  
College Student ◽  
Film Music ◽  
Experimental Film ◽  
Film Scoring ◽  
Short Films ◽  
The Future ◽  
The 1960S

This chapter details Mancini's return to television. Mancini was offered his own TV series, to be called The Mancini Generation, on which he would discuss and demonstrate film music to a syndicated audience. Undertaking the series was a colossal commitment. The music materials were drawn from his whole backlog of arrangements alongside some new charts, but in addition to the musical rehearsals there were camera rehearsals and host-segment preparations all of which were shot together during one four-week period and then sliced up for insertion into the shows. Unique to each show was a sequence during which Mancini invited one college student enrolled in a film course at some university across the country to take a past Mancini recording and conceive, shoot, and edit an experimental film based on the music. The short films, then, were shown on the program, and Mancini used the opportunity to push support for film and film-scoring study courses in schools of the future. The Mancini Generation was eventually seen on 150 stations nationwide and also led to an RCA album sporting the series title, his first jazz-pop album since the 1960s.

The Days Do Not End: Film Music, Time and Bernard Herrmann

Film Studies ◽  
2006 ◽  
Vol 9 (1) ◽  
pp. 51-63 ◽  
Author(s):  
David Butler
Keyword(s):  
Film Music ◽  
Taxi Driver ◽  
Making Sense ◽  
Temporal Properties ◽  
State Of Mind ◽  
The Spectator

The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when they are in a films narrative) and expansion (musics ability to expand our experience of film time). The paper focuses on Bernard Herrmann, and his score for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the temporal possibilities of film music.

Ovarian regulation of sperm progression in the Fallopain tubes

Zygote ◽  
1994 ◽  
Vol 2 (4) ◽  
pp. 363-366 ◽  
Author(s):  
R. H. F. Hunter
Keyword(s):  
Artificial Insemination ◽  
Fallopian Tubes ◽  
Sperm Transport ◽  
Sperm Suspension ◽  
Essential Components ◽  
Natural Mating ◽  
The 1950S ◽  
1960S And 1970S

Successful liberation and apposition of gametes are essential components of fertility. Normal fertilisation depends upon the establishment of a pre-ovulatory sperm gradient in the female tract between the site of semen deposition and the site of fertilisation in the Fallopian tubes. As a consequence, sperm: egg ratios may be close to unity at the time of activation of most secondary oocytes under conditions of spontaneous mating. In the absence of a sufficient sperm gradient, newly ovulated eggs would be confronted by an excess of spermatozoa resulting in polyspermic fertilisation. Penetration of the vitellus by more than one spermatozoon is pathological in mammals (Beatty, 1957; Austin, 1963). Accordingly, systems that act to regulate sperm progression and competence before the time of ovulation assume a particular importance. During the 1950s, 1960s and 1970s, there was much controversy as to the rate of sperm transport into the Fallopian tubes. Because observations failed to focus on those spermatozoa that could fertilise eggs, the controversy was largely sterile. Nor were the disagreements well founded since some experiments employed artificial insemination whilst others used natural mating. These two quite distinct approaches to introducing a sperm suspension into the female tract could not reasonably form the basis of disagreements on the physiological events of cellular progression. More recent studies have been set in perspective by Overstreet (1983), Harper (1988), Yanagimachi (1988), Hunter (1988, 1991, 1995) and Drobnis & Overstreet (1992)After mating at the onset of oestrus, ram and bull spermatozoa require a minimum of 6–8 h to reach the Fallopian tubes in sufficient numbers to promote suc.cessful fertilisation (Hunter et al., 1980; Hunter & Wilmut, 1982). Spermatozoa displaced to the tubes in a small number of minutes are moribund or dead, not.

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