‎SELZNICK (David O.).‎
‎Cinéma. ‎

‎Cinema Changes: Incorporations of Jazz in the Film Soundtrack‎

‎, Brepols, 2019 Hardback, xxvi + 334 pages, Size:210 x 260 mm, Illustrations:35 b/w, 26 musical examples, Language: English. ISBN 9782503584478.‎

‎Summary Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new "multimedia" art form, soon incorporating music as one of cinema's privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music - in various form and with diverse and changing racial/social connotations - appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level. TABLE OF CONTENTS Emile Wennekes - Emilio Audissino Prologue: A Reel Jazz Survey Rendition / Reception Emile Wennekes Out of Tune? Jazz, Film and the Diegesis Phillip Johnston Jazzin' the Silents: Jazz and Improvised Music in Contemporary Scores for Silent Film Luca Stoll Cinema: A Privileged Way of Acquiring Intimacy with Jazz Standards Marida Rizzuti Play, My Fiddle, Play! Jazz and Klezmer at the End of the 1930s Randall Cherry Ethel Waters and the Search for Racial Redemption Jazz and National Cinemas Emilio Audissino The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study Nicolas Pillai Rhythms of the Everyday: an Alternative History of the British Jazz Film Philippe Gonin Jazz and Cinema: Which Jazz for Which Movies in France from 1945 to the early 1960s? Julio Arce - Celsa Alonso From the Chotis to the Charleston: Jazz in Spanish Films prior to the Civil War Roberto Calabretto Jazz Music in Michelangelo Antonioni's Films Willem Strank When Jazz Meets German Cinema: A Brief Overview Jason R. Hillebrand A Song Helps Us Live: The Narrative Function of Jazz in the Soviet Musical Film Jolly Fellows Case Studies Francesco Finocchiaro - Leo Izzo The Sound of the Nightmares: On the Jazz Music in Fritz Lang's Metropolis Ryan Patrick Jones Dignity in the Twilight of Minstrelsy: Race, Nuance, and Aspiration in Duke Ellington's Symphony in Black: A Rhapsody of Negro Life Adam Biggs The Blues and Dissonance in Michelangelo Antonioni's Blow-Up Armando Ianniello Umiliani, Trovajoli, and Rota: The Jazz Film Score of Boccaccio '70 Marcel Bouvrie Synergetic Jazz Score: The Narrative of the Relation between the Diegetic and Nondiegetic Music in Whiplash Mervyn Cooke 'The Same Goddamn Songs the Same Goddamn Way'? Makin' Whoopee with The Fabulous Baker Boys Abstracts Biographies Index of Names‎

‎Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918,‎

‎Brussels, Fonds Mercator, 2010 Hardcover with dust-jacket, 25,1 x 30,1 cm, 224pp., 226 colour illustrations, of which 90 full pages. ISBN 9789061539414.‎

‎Capturing realistic images on canvas has been a staple of western art since the renaissance development of scientific perspective. At the end of the nineteenth century, however, artists attempted not only to paint realistically, but also to create images that reflected the reality of the world around them. Naturalist painters portrayed life as they observed it, utilizing their academic artistic training to illustrate the existence of everyday people. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918, published in association with an eponymous exhibition developed by the Van Gogh Museum in Amsterdam, traces the relationship between several art forms that utilize the Naturalist aesthetic. Painting, literature, theatre, photography and film, and the important relationship between these art forms, are examined within the context of Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social, economic and cultural transformation. The cultural and technological threads that wove these diverse art forms together emerged earlier in the nineteenth century with the development of photography. In the 1840, painters began to experiment with the use of the camera as a tool for composition, and by the 1870s, Naturalists novelists, such as Emile Zola, recognized that the camera could supplement their written notes in documenting scenes from daily life. Likewise, the theatre became more receptive to producing plays about social and cultural concerns, broadening the repertoire to include dramas based on contemporary issues. The advent of film in the late nineteenth century added yet another dimension to the Naturalist aesthetic, basing this new art form on the models provided by large-scale narrative painting, Naturalist photography, and contemporary, socially conscious theatre productions. In a series of essays, the authors of Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 explore the international scope of Naturalism through a number of interwoven themes. The livres of ordinary people are at the heart of Naturalist art in any medium, and so the themes of these works reflect the common concerns shared by urban an rural populations in both Europe and North America. The social ills created by industrialization are frequent themes, as are the social responses to these problems in the form of public education and newly energized religious faith. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. In short, Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 offers a fresh interpretation of how Naturalist artists, and the aesthetic the espoused, attempted to understand and explain the rapid and profound changes of their own time. Accompanies the exhibitions in the Van Gogh Museum Amsterdam, 8 October 2010 - 16 January 2011, and in the Ateneum Art Museum, Helsinki, February - June 2011.‎

‎Koltsova, E. Polotnaya zhizn: About the cinema of the region of A. Ushin./Kolt‎

‎"Koltsova, E. Polotnaya zhizn: About the cinema of the region of A. Ushin./Koltsova, E. Polotnyanaya zhizn: O kino obl. A. Ushina. The region is thin. A. Ushina. Koltsova, E. Polotnyanskaya zhizn: About the cinema of the region. A. Ushina. M.; L.: Tea-kino-print, 1929.-48 p.;. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-f0ef39b97beea3cd."‎

‎Worker and Theatre # 3 for January 15, 1930. Club. Cinema. Music. Estrada. IZO‎

‎Worker and Theatre # 3 for January 15, 1930. Club. Cinema. Music. Estrada. IZO. Organ of the Leningrad Council for Art and Literature Affairs and Leningrad Regional Council of Trade Unions./Rabochiy i teatr # 3 za 15 yanvarya 1930 g. Klub. Kino. Muzyka. Estrada. IZO. Organ Leningradskogo Soveta po delam iskusstva i literatury i Leningradskogo Oblastnogo Soveta professionalnykh soyuzov. Worker and Theatre # 3 for January 15, 1930. Club. Cinema. Music. Estrada. IZO. Organ of the Leningrad Council for Arts and Literature and the Leningrad Regional Council of Trade Unions. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-14f835aac174f1cf.‎

‎Worker and Theatre # 5 for January 26, 1930. Club. Cinema. Music. Estrada. IZO‎

‎Worker and Theatre # 5 for January 26, 1930. Club. Cinema. Music. Estrada. IZO. Organ of the Leningrad Council for Art and Literature Affairs and Leningrad Regional Council of Trade Unions./Rabochiy i teatr # 5 za 26 yanvarya 1930 g. Klub. Kino. Muzyka. Estrada. IZO. Organ Leningradskogo Soveta po delam iskusstva i literatury i Leningradskogo Oblastnogo Soveta professionalnykh soyuzov. Workers and Theatre # 5 for January 26, 1930. Club. Cinema. Music. Estrada. IZO. Organ of the Leningrad Council for Art and Literature Affairs and the Leningrad Regional Council of Trade Unions. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-30870b7ae399569d.‎