Making Music in Selznick's Hollywood

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Golden Age ◽  
Central Character ◽  
Sheet Music ◽  
Gone With The Wind ◽  
Men And Women ◽  
American Cinema ◽  
The Third ◽  
Archival Documents ◽  
Franz Waxman ◽  
Farewell To Arms

Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).

Popular Music and the Colloquial Tone in the Posthorn Solos of Mahler’s Third Symphony

2017 ◽  
Author(s):  
Timothy Freeze
Keyword(s):  
Popular Music ◽  
Folk Song ◽  
Sheet Music ◽  
Military Band ◽  
The Third ◽  
Musical Styles

The posthorn solos in the trios of the third movement of Mahler’s Third Symphony have polarised critical and scholarly opinion regarding their stylistic origins. My examination places the posthorn solos in the context of the popular music of Mahler’s day. Drawing on contemporary reviews, sheet music, and military band manuscripts in Austrian and German archives, I uncover palpable references, since forgotten or neglected, both to the genre of sentimental trumpet solos, common in salon music and band concerts, and to posthorn stylisations distinctive to popular music. Mahler demonstrably knew these repertoires, and critics often cited them in reviews. These allusions do not negate the solos’ likenesses to folk song and the sound of actual posthorns. Rather, Mahler’s score refers to multiple musical styles without being reducible to any one of them.

Selznick beyond Hollywood

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
United States ◽  
The United States ◽  
The Third ◽  
Farewell To Arms

Selznick’s co-productions with elite European filmmakers contrast noticeably with his Hollywood work. The Third Man’s hyper-stylized cinematography and solo zither score by Anton Karas resemble no other Selznick film, partly because Selznick’s role was much reduced. But with subsequent European co-productions the producer sought to reinsert himself into the music. This chapter traces these battles as they unfolded on the soundtrack, with Selznick reasserting his creative voice through re-edited versions distributed only in the United States. Most striking is the case of Stazione Termini, which Selznick released as Indiscretion of an American Wife. With Alessandro Cicognini’s score re-edited by Audray Granville, music in the new version does different work from its cinematic sibling. In his final productions, including Mario Nascimbene’s music for A Farewell to Arms, Selznick’s use of music to structure narrative and develop commercial appeal re-emerges as one of the producer’s greatest priorities.

Music Director Differences

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Gone With The Wind ◽  
Included Trial ◽  
Franz Waxman

In the productions leading up to Gone with the Wind, Selznick tried working with different composers to cultivate a sustainable partnership. These efforts included trial productions with Alfred Newman (The Prisoner of Zenda) and Oscar Levant (Nothing Sacred), and ultimately led to Selznick’s hiring Lou Forbes as a permanent music director in 1937. Forbes’s responsibilities included securing permissions to use preexistent music, assembling preview scores (known now as “temp tracks”), supervising final scores, serving as a liaison between Selznick and the composer, monitoring recording sessions, and watching the budget. This chapter surveys the films leading up to Forbes’s tenure and his initial productions, which involved coordinating the collective efforts of multiple composers, including Hugo Friedhofer, Max Steiner, Robert Russell Bennett, and Franz Waxman. Forbes’s thoughtful contributions to films like Intermezzo illuminate the otherwise neglected role of the Hollywood music director.

RUSSIAN DIASPORA. SUMMATION AND RESEARCH PROSPECTS

2020 ◽  
pp. 130-143
Author(s):  
Irina V. Sabennikova ◽  
Keyword(s):  
Soviet Union ◽  
Scientific Research ◽  
Soviet Period ◽  
The Third ◽  
The Soviet Union ◽  
Third Stage ◽  
Archival Documents ◽  
Significant Phenomenon ◽  
History Of ◽  
Methodological Principles

The historiography of any historically significant phenomenon goes through several stages in its development. At the beginning − it is the reaction of contemporaries to the event they experienced, which is emotional in nature and is expressed in a journalistic form. The next stage can be called a retrospective understanding of the event by its actual participants or witnesses, and only at the third stage there does appear the objective scientific research bringing value-neutral assessments of the phenomenon under study and belonging to subsequent generations of researchers. The history of The Russian Diaspora and most notably of the Russian post-revolutionary emigration passed to the full through all the stages of the issue historiography. The third stage of its studying dates from the late 1980s and is characterized by a scientific, politically unbiased study of the phenomenon of the Russian emigration community, expanding the source base and scientific research methods. During the Soviet period in Russian historiography, owing to ideological reasons, researchers ‘ access to archival documents was limited, which is why scientific study of the history of the Russian Diaspora was not possible. Western researchers also could not fully develop that issue, since they were deprived of important sources kept in Russian archives. Political changes in the perestroika years and especially in the period after the collapse of the Soviet Union increased attention to the Russian Diaspora, which was facilitated by a change in scientific paradigms, methodological principles, the opening of archives and, as a result, the expansion of the source base necessary for studying that issue. The historiography of the Russian Diaspora, which has been formed for more than thirty years, needs to be understood. The article provides a brief analysis of the historiography, identifies the main directions of its development, the research problematics, and defines shortcomings and prospects.

Gender and Power: Boys Will Be Boys and So Will Girls

1994 ◽  
Vol 4 (1) ◽  
pp. 105-127 ◽  
Author(s):  
Margaret Carey
Keyword(s):  
Northern Ireland ◽  
Men And Women ◽  
Secondary Sources ◽  
The Third ◽  
Employed Women ◽  
Male Dominated ◽  
Gender And Power ◽  
Depth Interviews

This paper examines the treatment of women by men in two areas of male-dominated employment: specific professions and non- traditional ‘manual’ employment such as construction, transport, and other trade workers. Based on data from secondary sources, and in-depth interviews with non-traditionally employed women in Northern Ireland, the paper is divided into three main parts. The first section assesses the extent of harassment and discrimination towards women in male- dominated professions; the second provides a similar account of the treatment of non-traditionally employed women in Northern Ireland. Evidence suggests that there is a dichotomy in the treatment of women between the two areas discussed - given that men and women in ‘manual’ employment seem to sustain a more ‘peer-like’ relationship than their counterparts in some male-dominated professions. Thus, in the third section of the paper, while attempting to avoid the trap of dualism, I posit reasons for the existence of such a dichotomy.

The Golden Age of Male Adultery: The Third Republic

1995 ◽  
Vol 28 (3) ◽  
pp. 469-490 ◽  
Author(s):  
A.-M. Sohn
Keyword(s):  
Golden Age ◽  
Third Republic ◽  
The Third

scholarly journals Preschoolers’ recognition of and inferences from observed imitation

2019 ◽  
Author(s):  
Narges Afshordi ◽  
Susan Carey
Keyword(s):  
Preschool Children ◽  
Central Character ◽  
The Third ◽  
The Future

Five experiments explored the apparent discontinuity between infants’ success at inferring affiliation from observed imitation (Powell & Spelke, 2017), and four-year-olds’ failure on the same inference (Over & Carpenter, 2015). Experiment 1 tested whether children younger than age 4 (i.e., 3-year-olds) have an explicit, verbalizable, concept of imitation. We showed children three characters performing different bodymovements. The central character (copier) consistently imitated another character (the model), but not the third one (non-model). Three-year-olds could answer who the copierwas “copying,” thus demonstrating a lexicalized concept of imitation (Exp. 1). Adults spontaneously inferred that the copier’s affiliation lies with the model over the non-modeland that she will continue to copy the same model in the future (Exp. 2), but preschoolers’ success at these two inferences was extremely limited, just barely abovechance, and showed no improvement from ages three to five (Exp. 3). Nonetheless, preschoolers succeeded at making correct inferences when we primed the concept ofimitation either non-lexically by drawing attention to the similarity between the copier’s and model’s actions (Exp. 4), or both lexically and non-lexically in the context of separate characters uninvolved in the test questions (Exp. 5). Taken together, the findings provide evidence of continuity between the representations of imitation from infancy through the preschool years to adulthood, but in the context of the present experiments, young preschool children do not always spontaneously encode the central character's preferential imitation of one model over another.

scholarly journals POLITICAL POLICE OF KOSTROMA PROVINCE AND ITS CADRE PERSONNEL IN 1826–1867

2020 ◽  
pp. 221-227
Author(s):  
Gennadiy G. Bril’ ◽  
Leonid N. Zaytsev
Keyword(s):  
19Th Century ◽  
Russian Empire ◽  
The State ◽  
The Political ◽  
Public Order ◽  
State Security ◽  
The Third ◽  
Successful Career ◽  
Archival Documents ◽  
The Russian Empire

The article examines the process of origin and formation of the political police of Kostroma Province in the mid-19th century. Special attention is paid to the issue of its staffi ng and the wide use of army offi cers for service in the political police. The chronological framework covers a little-studied period of activity of the political police in Kostroma Province. The authors of the article note that the Highest orders of military ranks that had a special place in the appointment of the headquarters and chief offi cers of the political police. On the basis of archival materials, the main directions of service activities of the highest ranks of the political police in the region are analysed. The article reveals the contribution of the gendarmes’ Corps chiefs to the protection of public order during the period under review. The author reveals the attitude of the authorities to literacy among the lower ranks of the gendarmerie. On the basis of historical and archival documents, it is concluded that the successful career of offi cers was promoted by conscientious performance of their offi cial duties, their «excellent-diligent and zealous service». It is concluded that special attention was paid to discipline among the gendarmes. The political police were independent of other branches of government, and were subordinate only to the headquarters of the gendarmes’ corps and the third division of His Imperial Majesty’s own offi ce. Gaps in the historical and legal coverage of the work of the state security Agency in the province of the Russian Empire at the fi rst stage of its existence are fi lled.

Visibilis et Invisibilis: The Mistress in Italian Renaissance Court Society*

1994 ◽  
Vol 47 (4) ◽  
pp. 770-792 ◽  
Author(s):  
Helen S. Ettlinger
Keyword(s):  
Fifteenth Century ◽  
Golden Age ◽  
Italian Renaissance ◽  
The Political ◽  
Central Character ◽  
Male And Female ◽  
The Creation

Fifteenth Century Italy has been called both the “golden age of bastards” and the “age of golden bastards.” But while scholars from Jacob Burckhardt to Lauro Martines have decried princely infidelity and the political problems resulting from the promotion of the inevitable bastards, they have not discussed a central character in the creation of such situations: the mother of those bastards or, more properly, the mistress of the prince. “Golden bastards,” male and female, could not have existed without the tacit cooperation of noble women and the men who protected them – husbands, fathers, and brothers. And herein lies a conundrum. Paternal, spousal, and/or fraternal consent to an illicit relationship which was, at best, a tenuous claim on the generosity of a prince might appear to violate the model constructed by family historians of a society concerned with preserving the honor of their women in order to enhance the family's position through advantageous marital alliances of the virgin daughters.

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