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literatuur --- Duitsland --- Mann Thomas --- Britten Benjamin --- Der Tod in Venedig --- Dood in Venetië --- opera --- film --- Visconti Luchino --- film en muziek --- Mahler Gustav --- film en literatuur --- 791.471 VISCONTI --- 78 --- Operas --- Analysis, appreciation. --- Analysis, appreciation --- Britten, Benjamin,
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American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael, Duke Ellington's extraordinary work in films from 1929 until the late 1960s, and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.
Cinéma et musicalité --- Cinéma et musique --- Film en muziek --- Motion pictures and music --- Musicalité filmique --- Musique et cinéma --- film --- muziek --- filmmuziek --- jazz --- filmgeschiedenis --- Verenigde Staten --- twintigste eeuw --- 791.43 --- Jazz --- History and criticism --- Musical films --- Moving-pictures and music --- Music and motion pictures --- Music
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Published in 1913, Thomas Mann's Death in Venice is one of the most widely read novellas in any language. In the 1970s, Benjamin Britten adapted it into an opera, and Luchino Visconti turned it into a successful film. Reading these works from a philosophical perspective, Philip Kitcher connects the predicament of the novella's central character to Western thought's most compelling questions. In Mann's story, the author Gustav von Aschenbach becomes captivated by an adolescent boy, first seen on the lido in Venice, the eventual site of Aschenbach's own death. Mann works through central concerns about how to live, explored with equal intensity by his German predecessors, Schopenhauer and Nietzsche. Kitcher considers how Mann's, Britten's, and Visconti's treatments illuminate the tension between social and ethical values and an artist's sensitivity to beauty. Each work asks whether a life devoted to self-sacrifice in the pursuit of lasting achievements can be sustained and whether the breakdown of discipline undercuts its worth. Haunted by the prospect of his death, Aschenbach also helps us reflect on whether it is possible to achieve anything in full awareness of our finitude and in knowing our successes are always incomplete.
Philosophy in literature. --- Mann, Thomas, --- literatuur --- Duitsland --- Mann Thomas --- Britten Benjamin --- Der Tod in Venedig --- Dood in Venetië --- 7.01 --- filosofie --- kunst en filosofie --- film --- Visconti Luchino --- film en muziek --- film en literatuur --- film en kunst --- kunst en film --- kunst en muziek --- kunst en literatuur --- Mahler Gustav --- kunsttheorie --- kunst
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