Success in Spite of Itself

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Musical Score ◽  
Back Seat ◽  
Publicity Campaign ◽  
Studio Era

Detailed production files about the musical score for Spellbound reveal an intense and fraught collaboration among music editor Audray Granville, director Alfred Hitchcock, composer Miklós Rózsa, and, producer David O. Selznick. In contrast to Rebecca, for which Hitchcock assumed a back seat in the scoring, his music directions for Spellbound are more specific—and contrary to Selznick’s. Granville, whose influence stretches from the preview score to the final dubbing of Rózsa’s theremin-infused score, sought to reconcile these differences. Her editing is deftly effective—not only maintaining the motivic integrity of Rózsa’s score but also shifting the score’s emotional weight from its misogynist villains toward the beleaguered heroine (Ingrid Bergman). Ultimately, the collaborative tensions of Spellbound proved unsustainable: the final result disappointed all four players. Nevertheless, the score’s popular reception—abetted by another music-based publicity campaign and soundtrack album—made it one of the best-known scores of the studio era.

Who's in the back seat? a study of driver inattention

2006 ◽  
Author(s):  
Steven R. Arndt ◽  
Christine T. Wood ◽  
Peter B. Delahunt ◽  
David Krauss ◽  
Carolyn T. Wall
Keyword(s):  
Back Seat ◽  
Driver Inattention

Mole Checks Take a Back Seat to Visits for Botox

2007 ◽  
Vol 37 (12) ◽  
pp. 26
Author(s):  
SHERRY BOSCHERT
Keyword(s):  
Back Seat

Musical score recognition of solo music signal based on WAV file

2009 ◽  
Vol 29 (3) ◽  
pp. 768-770
Author(s):  
Xi-zheng CAO ◽  
Chun-hong LIU ◽  
Lin SUN
Keyword(s):  
Musical Score ◽  
Music Signal ◽  
Solo Music

Torn, Burned, and Yet Dancing

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
Literary Text ◽  
Female Characters ◽  
Literary Field ◽  
In Series ◽  
Studio Era ◽  
Classical Hollywood ◽  
Mode Of Production

This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last Tycoon who, in refusing to remain silent substitutes for other women, rupture the illusory conceits of seamless fictional narration in classical Hollywood—and its equally seamless discourse of femininity. Fitzgerald’s Hollywood writing thus confronts the gendered and racialized limits of the modernist literary field and, in the process, unravels the myth of the solitary author and the singular, stable literary text.

Last Woman Standing

2018 ◽  
Author(s):  
J. E. Smyth
Keyword(s):  
Star System ◽  
Women's Issues ◽  
Political Equality ◽  
Equal Pay ◽  
Career Opportunities ◽  
American Myths ◽  
Collective Self ◽  
Women’S Careers ◽  
The Media ◽  
Studio Era

Today, when the media puts studio-era Hollywood and feminism together, the answer is usually Katharine Hepburn. But during her career at RKO and MGM, she did not discuss women’s issues regarding equal pay, career opportunities, or political equality. However, she did state flatly in 1933, “I intend to speak my mind when I please, despite movie traditions,” setting her independence against the Hollywood establishment. She remained uninterested in working with other Hollywood women on-screen or in recognizing the advantages of promoting women’s careers through publicity networks off the set. Katharine Hepburn endures as a product of American myths about pioneering individualism, the Hollywood star system, and the studio-era film industry’s ambivalent investment in strong women. But if, as historian Nancy Cott has argued, “Pure individualism negates feminism because it removes the basis for women’s collective self-understanding or action,” then Hepburn was no feminist. This chapter unravels her myth.

Designing Women

2018 ◽  
Author(s):  
J. E. Smyth
Keyword(s):  
Working Women ◽  
Costume Design ◽  
Creative Force ◽  
Women's Fashion ◽  
The One ◽  
Studio Era ◽  
Average Woman ◽  
Better Than

During the early 1940s, journalists observed that after years of men controlling women’s fashion, Hollywood had become “a fashion center in which women designers are getting to be a big power.” In a town where “the working girl is queen,” it was women who really knew how to dress working women. Edith Head’s name dominates Hollywood costume design. Though a relatively poor sketch artist who refused to sew in public, Head understood what the average woman wanted to wear and knew better than anyone how to craft her image as the-one-and-only Edith Head. However, she was one of many women who designed Hollywood glamour in the studio era. This chapter juxtaposes Head’s career with that of a younger, fiercely independent designer who would quickly upstage Head as a creative force. In many senses, Dorothy Jeakins’s postwar career ascent indicated the waning of the Hollywood system and the powerful relationship between female designers, stars, and fans.

“I Know Just What She’s Going Through”

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Original Music ◽  
Delicate Balance ◽  
Alternative Perspective ◽  
Franz Waxman ◽  
Studio Era ◽  
Musical Accompaniment

Rebecca’s music offers the strongest argument for the style of musical collaboration Selznick fostered. Although earlier scholarship has focused on Hitchcock and Waxman, this chapter provides an alternative perspective informed by production records: how ideas and decisions flowed from producer, music director Forbes, and composer Franz Waxman to intermingle in one of the most compelling scores of the studio era. This chapter shows the extent to which Selznick and Forbes shaped the score’s formation and the degree to which non-original music from the preview score works in dialogue with Waxman’s associative themes, Robert Russell Bennett’s arrangements, and Leonid Raab’s orchestrations. Rebecca’s musical accompaniment epitomizes a delicate balance of collaborative tensions: the fruit of a system developed under Selznick and Forbes in the late 1930s.

Origins and Evolution of the North American Stable Peace

2020 ◽  
Author(s):  
David G. Haglund
Keyword(s):  
International Relations ◽  
North American ◽  
Western Europe ◽  
Regional Security ◽  
Interstate Relations ◽  
American Experience ◽  
Back Seat ◽  
The North ◽  
Security Communities ◽  
Primary Focus

Interstate relations among the North American countries have been irenic for so long that the continent is often assumed to have little if anything to contribute to scholarly debates on peaceful change. In good measure, this can be attributed to the way in which discussions of peaceful change often become intertwined with a different kind of inquiry among international relations scholars, one focused upon the origins and denotative characteristics of “pluralistic security communities.” Given that it is generally (though not necessarily accurately) considered that such security communities first arose in Western Europe, it is not difficult to understand why the North American regional-security story so regularly takes an analytical back seat to what is considered to be the far more interesting European one. This article challenges the idea that there is little to learn from the North American experience, inter alia by stressing three leading theoretical clusters within which can be situated the scholarly corpus of works attempting to assess the causes of peaceful change on the continent. Although the primary focus is on the Canada–US relationship, the article includes a brief discussion of where Mexico might be said to fit in the regional-security order.

The Order of Sanctity

2013 ◽  
pp. 423-444
Author(s):  
Mitchell Morris
Keyword(s):  
Social Impact ◽  
Musical Score ◽  
Golden Calf ◽  
Ten Commandments

This chaptertraces the connections between a prevailing mode of “authenticity” in Cecil B. DeMille’s 1956 film The Ten Commandments and the music Elmer Bernstein wrote for the film. It describes how Bernstein’s musical score for the riot around the Golden Calf created the necessary orgiastic impression and how DeMille’s narration created the distance that freed the scene from any risk of censorly reproach. It also considers the devotional and political elements of the film and its religious and social impact.

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