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Victoria E. Film Quarterly 1 October ; 47 1 : 63— Recipient s will receive an email with a link to 'Review: Settling the Score: Music and the Classical Hollywood Film by Kathryn Kalinak' and will not need an account to access the content. Sign In or Create an Account. User Tools.
Sign In. Article Navigation. Close mobile search navigation Article navigation. Volume 47, Issue 1. Previous Article Next Article. Book Review October 01 Johnson Victoria E.
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Settling the score : music and the classical Hollywood film
Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Kathryn Kalinak examines the conventions and strategies underpinning film scoring in Hollywood, investigating what has been considered the most influential and powerful relationship to have evolved between music and film, the classical Hollywood model. Beginning with the earliest experiments in musical accompaniment carried out in the Edison laboratories. Kalinak uses archival material to outline the history of music and film in America. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold's "Captain Blood", Max Steiner's "The Informer", Bernard Herrmann's "The Magnificent Ambersons", and David Raskin's "Laura", Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams "The Empire Strikes Back" and Basil Poledouris "Robocop" demonstrate how the traditions of the classical era continue to influence scoring practices today.
Settling the Score : Music and the Classical Hollywood Film
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