Making Music in Selznick's Hollywood - Oxford Music/Media Series (Hardback)Nathan Platte (author)
Hardback 416 Pages / Published: 30/11/2017
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Iconic images from fiery scenes of catharsis in Gone With the Wind and Rebecca to The Third Man's decadent cinematography have proven inseparable from their accompanying melodies. From the 1910s-50s, producer David O. Selznick depended upon music to distinguish his films from his competitors'. By demonstrating music's value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick changed audiences' relationship to movie music. But what role did Selznick play in the actual music composition that distinguished his productions, and how was that music made? As the first of its kind to consider film music from the perspective of a producer, this book tells the story of the evolution of Selznick's style through the many artists whose work defined Hollywood sound. Utilizing thousands of archival documents, chapters in this book unearth and analyze Selznick's efforts in the late silent-era, his work at three major Hollywood studios, and his accomplishments as an independent producer, including music-making for King Kong, A Star is Born, Prisoner of Zenda, Duel in the Sun, among many others.
Publisher: Oxford University Press Inc
Number of pages: 416
Weight: 724 g
Dimensions: 239 x 164 x 30 mm
In this meticulous study, which entailed archival research, Platte (music history, Univ. of Iowa) introduces readers to the overlooked others who were responsible for creating Selznick's scores, for example, music editor Audray Granville, who worked on Spellbound. Emphasis is on films that were produced by Selznick himself; therefore, for example, I'll Be Seeing You (1944)produced by Selznick International, is not included. The first in-depth, book-length study to explore Selznick's own role in film scoring, this volume offers early history on Selznick's musical experiments while at Paramount in the 1920s, music examples, transcriptions of Selznick's memos to rewrite music, film stills, premiere programs, and pictures of family members and those who, like Granville, worked behind the scenes. * Choice *
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