1901–2000: Gone with the Wind. Instead of an Epilogue

2022 ◽  
pp. 786-814
Keyword(s):  
Gone With The Wind

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.

Gone with the Wind: Microbial Communities Associated with Dust from Emissive Farmlands

2021 ◽  
Author(s):  
Adeola Salawu-Rotimi ◽  
Pedro H. Lebre ◽  
Heleen Cornelia Vos ◽  
Wolfgang Fister ◽  
Nikolaus Kuhn ◽  
...  
Keyword(s):  
Microbial Communities ◽  
Gone With The Wind

Salts in the clay playas of China’s arid regions: gone with the wind

2012 ◽  
Vol 68 (3) ◽  
pp. 623-631 ◽  
Author(s):  
Xunming Wang ◽  
Ting Hua ◽  
Caixia Zhang ◽  
Guangqiang Qian ◽  
Wanyin Luo
Keyword(s):  
Arid Regions ◽  
Gone With The Wind

A New Model for Biologic Constructs: Biotensegrity

2003 ◽  
Author(s):  
Stephen M. Levin
Keyword(s):  
Mechanical Properties ◽  
Finite Element ◽  
Gone With The Wind ◽  
New Model ◽  
Automobile Parts ◽  
Finite Element Meshes ◽  
The Individual ◽  
Central Factory ◽  
Model Structures ◽  
As If

Present biologic models envision organisms behave like the character ‘Topsy’ in Gone with the Wind; they “just grew.” Modeled of Lego©-like components, the individual structures are linked together as if they are automobile parts that are manufactured at different plants and assembled at some central factory. For the most part, hexahedral finite element meshes are used to model structures. When tetrahedral modeling is used, no account is made of the different mechanical properties that are inherent in triangulated structures, (trusses), that make the structures behave very differently than hexahedral-based models.

scholarly journals «Og det er ikkje vits i å seie noko» – om Jon Fosses "Eg er vinden"

2018 ◽  
pp. 102-115
Author(s):  
Zsófia Domsa
Keyword(s):  
Zero Point ◽  
Gone With The Wind ◽  
Open Sea ◽  
Physical Presence ◽  
Death Wish ◽  
The One ◽  
Late Modern

I Am the Wind is one of the last works Jon Fosse wrote for theatre. The piece was first staged during the Bergen Festival in 2007. Even though it was only a few years later that Fosse declared the end of his dramatic career, his playwriting with this play is clearly moving on its way out of the theatre and into a borderland between thought and action; it manifests an extremely subjective and the physical presence in which items from Fosse’s poetry are more clearly seen. In this article, I want to read I Am the Wind primarily as a theatre piece, that is, a text written for the stage, and emphasize the use of poetic elements. The piece’s sections of dialogue revolve around existential and individual psychological questions at the boundary of the banal; it thematizes both the need and the fear of loneliness. It also deals with nature’s magical attraction to humans and with the importance of silence on several levels. The work stages the death wish of late modern humanity, and provides lyrical and language-philosophical interpretations of this, which I wish to read into the apparently simple plot of the piece. I Am the Wind can be described through a number of features that also characterize both earlier and later pieces of Fosse’s writing. Simply put, the play is about two people’s voyage to the open sea in a boat; one of the characters jumps overboard and commits suicide. The situation in the play takes place either in the head of the one who witnesses the suicide, or there is a meeting between the two characters after death. Either way, this is a basic situation which assumes that the expectations of a realistic stage action are to be set aside. But what is the reason why Fosse shifts his piece against a dramatic zero point? What is the purpose of reducing the stage expression to a lyrical outline that almost destroys the theatrical form? Fosse often opts for silent moments in his pieces. I Am the Wind is an infinite and enigmatic boat trip that requires us to look at the play as a landscape without being forced to define it in words: for the words disappear during the boat trip; they are taken and gone with the wind; “there is no point in saying anything.”

Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture

2021 ◽  
pp. 137-155
Author(s):  
Ben Winters
Keyword(s):  
Gone With The Wind ◽  
West Side ◽  
Sound Film ◽  
West Side Story ◽  
Film Presentation ◽  
Historically Informed Performance ◽  
The Relationship

This chapter examines historical presentational practices of sound film and, specifically, the extra music added to roadshow versions of films between the 1930s and 1960s—including Gone with the Wind, West Side Story, It’s a Mad Mad Mad Mad World, and 2001: A Space Odyssey. It argues that such added music—which included overtures, intermission, entr’acte, and exit music—when combined with controlled theatrical lighting and use of the curtain, might have prompted a number of different cinematic listening experiences among audiences. It suggests that an understanding of these historical presentational practices might call into question comfortable assumptions about the nature of sound-film ontology and the relationship between cinema as “Text” and cinema as “Event”—issues that resonate with the discourse surrounding historically informed performance (HIP) practice in musicology.

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