Catálogo de publicaciones

Compartir en
redes sociales


Navegación

Tipo

Acceso

Plataformas

Temática

Mostrando 10 de 3.390 registro(s)

Filtros temática quitar todos
revistas Acceso Abierto

Film-Philosophy

Identificadores:  ISSN 1466-4615 (en línea)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

libros Acceso Abierto

Filmische Seitenblicke: Cinepoetische Exkursionen ins Kino von 1968

Identificadores:  ISBN 978-3-11061-894-5 (en línea)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

libros Acceso Abierto

Filmkomponist Max Steiner (1888-1971), Der

Identificadores:  ISBN 9783205788010 (impreso)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

This is the first monograph about the Austro-American Composer Max Steiner (1888-1971), one of the great pioneers of film music in the so-called Golden Age of Hollywood. In the early 1930ies with his visionary energy he helped to establish symphonic film music as an integrated part in the film production process. In contrary to many of his colleagues, Mr. Steiner had devoted himself completely to film music. Therefore the preoccupation with Max Steiner's music gives a very valuable insight into the craft of film composing. Supported by many quotes and music examples, the first part of this monograph shows how Mr. Steiner wrote his film music. From the first viewing and the spotting session to the final exact timing of the cues, the whole creative and technical process of his film composing is demonstrated. The music of Max Steiner has a couple of quasi formulaic elements: the regular use of leitmotifs, quotations from his own music and the accurate synchronisation of screen action and music cues (with its extreme form, the so-called mickey mousing). The principles of the subjective use of harmonies as well as the technique of instrumentation are shown. The reader will also learn about the special relationship between composer and orchestrator. This distinctive form of collaboration was typical for the Hollywood cinema of the 30ies and 40ies of the 20th century, the so called Golden Age and still is today. Because the studios wanted to save the precious time of their employed composers, they wanted them to write their music on sketch paper with two to four staves, with the themes, voice leadings, harmonies and basic requirements of instrumentation. Then the orchestrator had to transform this into a complete score. Throughout his whole career, Mr. Steiner had been working with three orchestrators. This collaboration reached such an intuitive level, that is was sufficient that Max Steiner wrote only rudimentary musical information. When these sketches had been transformed into scores, Steiner conducted the studio orchestra, where he normally used the click. The second part of the book is based to a big extent on Steiner's yet unpublished autobiography. Born at the end of the 19th century in Vienna, Max Steiner was considered a musical wunderkind. His father as well as his grandfather before him was a famous theatre impresario. One of his teachers was Gustav Mahler. Steiner's first career as composer, arranger and conductor of operettas and musicals led him from Vienna to London and New York and lasted about 30 years. Then, in 1929, he got a call from Hollywood where he fulfilled his determination as dean of film music (Bette Davis). In the 50ies, when the symphonic film music lost its acceptance also Max Steiner's amount of work decreased. In 1965 he wrote his last of more than 300 scores. With the help of original documents from the archive of Warner Bros., such as memos, letters or billings the reader will get a three dimensional insight not only about how the movie Casablanca was made but on the mechanisms of the movie industry as a whole. Parts of the original sketches and the score of the music for Casablanca have been carefully transformed into a piano reduction to demonstrate even more clearly the efficient use of his skills and the yet highly artistic approach of Mr. Steiner Furthermore an example of this film music is compared to an excerpt of Richard Wagner's Ring des Nibelungen. There the reader will see how film music was not only inspired by but precisely obtained musical tools from the late romantic music theatre. Or, in Max Steiner's own words: "If Wagner would have lived in this century, he would be the number one film composer". Max Steiner is an outstanding protagonist of a generation of European immigrants who formed the cultural life in the USA. He is an important link between his native city Vienna and his new homeland America and through composers such as Steiner the tradition of the late European romantic m
libros Acceso Abierto

Films that Work: Industrial Film and the Productivity of Media

Identificadores:  ISBN 978-9-08964-013-0 (impreso) 978-9-04850-226-4 (en línea)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

tesis Acceso Abierto

Filosofía intercultural y arte: el problema del reconocimiento. Un aporte antropofágico

María Federica Scherbosky ; Alcira Beatriz Bomilla ; Adriana Arpini ; Carlos A Cullen

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

El objetivo de esta tesis es contribuir a la comprensión del reconocimiento del otro desde una perspectiva construida en el cruce entre la filosofía intercultural y el arte, y a la luz del Movimiento Antropofágico. El problema se enmarca en la propuesta de la Filosofía lntercultural, particularmente desde la perspectiva de Raúl Fornet-Betancourt. Se realiza un análisis de esta línea de pensamiento en su conjunto dando cuenta de su surgimiento, -particularmente en América Latina- y sus propuestas innovadoras, con el propósito de centrar la cuestión en el lugar que ocupa el arte dentro de la misma. El arte, junto con otras disciplinas y prácticas, plantea una ampliación de fuentes para el filosofar. A partir de esta reconstrucción de fuentes se propone pensar el arte como un espacio posible de encuentro y de diálogo con el otro, como una alternativa al diálogo tradicionalmente entendido. Se considera que el arte puede ser crítico y mediador en los encuentros interculturales, donde se juega la demanda por el reconocimiento.
tesis Acceso Abierto

Filosofía y música electroacústica: problemáticas estéticas, discursos y públicos

Susana Espinosa

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

libros Acceso Abierto

Finding Voice: A Visual Arts Approach to Engaging Social Change

Kim S Berman
Identificadores:  ISBN 978-0-47207-366-5 (impreso) 978-0-47290-071-8 (en línea)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

revistas Acceso Abierto

Firenze Architettura

Identificadores:  ISSN 1826-0772 (impreso) 2035-4444 (en línea)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

Firenze Architettura (FA) is a peer-reviewed academic international journal published in Italian and in English on a biannual basis by DiDa, Dipartimento di Architettura, Università degli Studi di Firenze. It focuses on the key issues of contemporary architecture design practice confronting the theoretical researches of the Florentine architecture school with those pursued by others Italian and European academies and with the work of important protagonists of the architectural debate.
libros Acceso Abierto

Firmin Gémier

Identificadores:  ISBN 9782753502291 (impreso) 9782753527102 (en línea)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

libros Acceso Abierto

First Fleet Piano, The: Volume One and Two

Identificadores:  ISBN 9781922144645 (impreso) 9781925022483 (en línea)

Accesos/Suscripciones

Este recurso está disponible en las siguientes plataformas

Cobertura temática

During the late eighteenth century, a musical–cultural phenomenon swept the globe. The English square piano—invented in the early 1760s by an entrepreneurial German guitar maker in London—not only became an indispensable part of social life, but also inspired the creation of an expressive and scintillating repertoire. Square pianos reinforced music as life’s counterpoint, and were played by royalty, by musicians of the highest calibre and by aspiring amateurs alike. On Sunday, 13 May 1787, a square piano departed from Portsmouth on board the Sirius, the flagship of the First Fleet, bound for Botany Bay. Who made the First Fleet piano, and when was it made? Who owned it? Who played it, and who listened? What music did the instrument sound out, and within what contexts was its voice heard? What became of the First Fleet piano after its arrival on antipodean soil, and who played a part in the instrument’s subsequent history? Two extant instruments contend for the title ‘First Fleet piano’; which of these made the epic journey to Botany Bay in 1787–88? The First Fleet Piano: A Musician’s View answers these questions, and provides tantalising glimpses of social and cultural life both in Georgian England and in the early colony at Sydney Cove. The First Fleet piano is placed within the musical and social contexts for which it was created, and narratives of the individuals whose lives have been touched by the instrument are woven together into an account of the First Fleet piano’s conjunction with the forces of history. Note: Volume 1 and 2 are sold as a set ($120 for both) and cannot be purchased separately.