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Schoenberg is often viewed as an isolated composer who was ill-at-ease in exile. In this book Kenneth H. Marcus shows that in fact Schoenberg's connections to Hollywood ran deep, and most of the composer's exile compositions had some connection to the cultural and intellectual environment in which he found himself. He was friends with numerous successful film industry figures, including George Gershwin, Oscar Levant, David Raksin and Alfred Newman, and each contributed to the composer's life and work in different ways: helping him to obtain students, making recordings of his music, and arranging commissions. While teaching at both the University of Southern California and the University of California, Los Angeles, Schoenberg was able to bridge two utterly different worlds: the film industry and the academy. Marcus shows that alongside Schoenberg's vital impact upon Southern California Modernism through his pedagogy, compositions and texts, he also taught students who became central to American musical modernism, including John Cage and Lou Harrison.
Motion picture industry --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- History --- Schoenberg, Arnold, --- Shenberg, Arnolʹd, --- Schönberg, Arnold, --- Schenberg, A. --- Shenberg, A. --- שנברג, ארנולד --- Criticism and interpretation. --- Composers --- Los Angeles- Hollywood. --- LosAngeles-Hollywood --- Hollywood, Calif. --- Los Angeles-Hollywood, Calif. --- Los Angeles, Calif. --- Los Angeles- Hollywood, Calif. --- Schönberg, Arnold
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Hollywood has a long tradition of bringing in emigre directors from around the world, dating back to the silent era. Today, as the film industry is ever more global, the people who make blockbuster movies seemingly reflect this tradition, hailing from many countries across the world. But that fact hides a fundamental difference, one that Melis Behlil examines in Hollywood is Everywhere: today's Hollywood studios are themselves transnational, with ownership structures and financial arrangements that stretch far beyond the borders of the United States. Seen in that context, today's international directors are less analogous to the emigre talent of the past than to ordinary transnational employees of other major global corporations.
Digital media --- Digital cinematography. --- Cinematography --- Digital filmmaking --- Digital moviemaking --- Electronic media --- New media (Digital media) --- Mass media --- Digital communications --- Online journalism --- Influence. --- Digital techniques --- Motion pictures --- Motion pictures and globalization. --- Motion picture producers and directors. --- Motion picture industry --- PERFORMING ARTS --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- Globalization and motion pictures --- Globalization --- Show business --- Arts --- Performance art --- Production and direction. --- Finance. --- Reference. --- Production and direction --- Direction --- Finance --- Los Angeles- Hollywood --- LosAngeles-Hollywood --- Hollywood, Calif. --- Los Angeles-Hollywood, Calif. --- Los Angeles, Calif. --- Los Angeles- Hollywood, Calif. --- Globalization, Cultural Industries, Hollywood, Transnational Cinema.
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The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America's potent mass culture. Drawn by Hollywood's potential to reach - and edify - the public, Copland and Eisler expertly wove sophisticated musical ideas into Hollywood and, each in their own distinctive way, left an indelible mark on movie history. Sally Bick's dual study of Copland and Eisler pairs interpretations of their writings on film composing with a close examination of their first Hollywood projects: Copland's music for Of Mice and Men and Eisler's score for Hangmen Also Die! Bick illuminates the different ways the composers treated a film score as means of expressing their political ideas on society, capitalism, and the human condition.
Film composers --- Motion picture music. --- Background music for motion pictures --- Film music --- Film scores --- Motion pictures --- Movie music --- Moving-picture music --- Dramatic music --- Music --- Cinema composers --- Film score composers --- Film scorers --- Motion picture composers --- Movie composers --- Scorers, Film --- Composers --- Copland, Aaron, --- Eisler, Hanns, --- Eisler, Johannes, --- Ėĭsler, Gans, --- Eissler, Hanns, --- Eisler, Hans, --- Eisler, H. --- Kopland, Aaron, --- Koplend, Aaron, --- Копланд, Аарон, --- コープランド, アーロン, --- Kōpurando, Āron, --- Kūpland, Ārūn, --- کوپلند، آرون --- Copland, Aron, --- Criticism and interpretation. --- Los Angeles- Hollywood --- USA --- United States of America --- Vereinigte Staaten von Amerika --- Nordamerika --- Amerika --- United States --- Etats Unis --- Etats-Unis --- Vereinigte Staaten --- Estados Unidos de America --- EEUU --- Vereinigte Staaten von Nordamerika --- Soedinennye Štaty Ameriki --- SŠA --- Stany Zjednoczone Ameryki Północnej --- Hēnōmenai Politeiai tēs Boreiu Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- HēPA --- Ēnōmenes Politeies tēs Amerikēs --- ĒPA --- Meiguo --- Etats-Unis d'Amérique --- US --- Amerikaner --- Konföderierte Staaten von Amerika --- LosAngeles-Hollywood --- Hollywood, Calif. --- Los Angeles-Hollywood, Calif. --- Los Angeles, Calif. --- Los Angeles- Hollywood, Calif.
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Co-financing arrangements in which investors from outside the motion picture industry become co-owners of the completed films are a common phenomenon in Hollywood. Kay H. Hofmann analyzes the conflicts of interest and the organizational problems that may arise between the experienced major studios and investors with comparably low industry expertise. Guided by principal agent theory, the empirical analysis provides evidence for adverse selection and moral hazard. Based on his findings, the author develops solutions that are not only relevant for investors but also for film producers who rely on the long-term availability of external funds.
Entertainers -- Legal status, laws, etc. -- United States -- Cases. --- Motion picture industry --- Capitalists and financiers --- Music, Dance, Drama & Film --- Business & Economics --- Film --- Economic Theory --- Finance --- Economic aspects --- Foreign influences --- Capitalists and financiers. --- Finance. --- Financiers --- Investors --- Film industry (Motion pictures) --- Moving-picture industry --- Business. --- Management science. --- Business and Management. --- Business and Management, general. --- Businesspeople --- Cultural industries --- Trade --- Economics --- Management --- Commerce --- Industrial management --- Quantitative business analysis --- Problem solving --- Operations research --- Statistical decision --- United States. --- Los Angeles- Hollywood. --- LosAngeles-Hollywood --- Hollywood, Calif. --- Los Angeles-Hollywood, Calif. --- Los Angeles, Calif. --- AB --- ABSh --- Ameerika Ühendriigid --- America (Republic) --- Amerika Birlăshmish Shtatlary --- Amerika Birlăşmi Ştatları --- Amerika Birlăşmiş Ştatları --- Amerika ka Kelenyalen Jamanaw --- Amerika Qūrama Shtattary --- Amerika Qŭshma Shtatlari --- Amerika Qushma Shtattary --- Amerika (Republic) --- Amerikai Egyesült Államok --- Amerikanʹ Veĭtʹsėndi͡avks Shtattn --- Amerikări Pĕrleshu̇llĕ Shtatsem --- Amerikas Forenede Stater --- Amerikayi Miatsʻyal Nahangner --- Ameriketako Estatu Batuak --- Amirika Carékat --- AQSh --- Ar. ha-B. --- Arhab --- Artsot ha-Berit --- Artzois Ha'bris --- Bí-kok --- Ē.P.A. --- EE.UU. --- Egyesült Államok --- ĒPA --- Estados Unidos --- Estados Unidos da América do Norte --- Estados Unidos de América --- Estaos Xuníos --- Estaos Xuníos d'América --- Estatos Unitos --- Estatos Unitos d'America --- Estats Units d'Amèrica --- Ètats-Unis d'Amèrica --- États-Unis d'Amérique --- Fareyniḳṭe Shṭaṭn --- Feriene Steaten --- Feriene Steaten fan Amearika --- Forente stater --- FS --- Hēnomenai Politeiai Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- Hiwsisayin Amerikayi Miatsʻeal Tērutʻiwnkʻ --- Istadus Unidus --- Jungtinės Amerikos valstybės --- Mei guo --- Mei-kuo --- Meiguo --- Mî-koet --- Miatsʻyal Nahangner --- Miguk --- Na Stàitean Aonaichte --- NSA --- S.U.A. --- SAD --- Saharat ʻAmērik --- SASht --- Severo-Amerikanskie Shtaty --- Severo-Amerikanskie Soedinennye Shtaty --- Si͡evero-Amerikanskīe Soedinennye Shtaty --- Sjedinjene Američke Države --- Soedinennye Shtaty Ameriki --- Soedinennye Shtaty Severnoĭ Ameriki --- Soedinennye Shtaty Si͡evernoĭ Ameriki --- Spojené obce severoamerick --- Spojené staty americk --- SShA --- Stadoù-Unanet Amerika --- Stáit Aontaithe Mheirice --- Stany Zjednoczone --- Stati Uniti --- Stati Uniti d'America --- Stâts Unîts --- Stâts Unîts di Americhe --- Steatyn Unnaneysit --- Steatyn Unnaneysit America --- SUA --- Sŭedineni amerikanski shtati --- Sŭedinenite shtati --- Tetã peteĩ reko Amérikagua --- U.S. --- U.S.A. --- United States of America --- Unol Daleithiau --- Unol Daleithiau America --- Unuiĝintaj Ŝtatoj de Ameriko --- US --- USA --- Usono --- Vaeinigte Staatn --- Vaeinigte Staatn vo Amerika --- Vereinigte Staaten --- Vereinigte Staaten von Amerika --- Verenigde State van Amerika --- Verenigde Staten --- VS --- VSA --- Wááshindoon Bikéyah Ałhidadiidzooígí --- Wilāyāt al-Muttaḥidah --- Wilāyāt al-Muttaḥidah al-Amirīkīyah --- Wilāyāt al-Muttaḥidah al-Amrīkīyah --- Yhdysvallat --- Yunaeted Stet --- Yunaeted Stet blong Amerika --- ZDA --- Združene države Amerike --- Zʹi͡ednani Derz͡havy Ameryky --- Zjadnośone staty Ameriki --- Zluchanyi͡a Shtaty Ameryki --- Zlucheni Derz͡havy --- ZSA --- ABŞ --- Amerikanʹ Veĭtʹsėndi͡avks Shtattnė --- É.-U. --- ÉU --- Saharat ʻAmērikā --- Spojené obce severoamerické --- Spojené staty americké --- Stáit Aontaithe Mheiriceá --- Wááshindoon Bikéyah Ałhidadiidzooígíí --- Los Angeles- Hollywood, Calif.
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