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The Songs of Hollywood by Philip Furia,Laurie Patterson Pdf
From "Over the Rainbow" to "Moon River" and from Al Jolson to Barbra Streisand, The Songs of Hollywood traces the fascinating history of song in film, both in musicals and in dramatic movies such as High Noon. Extremely well-illustrated with 200 film stills, this delightful book sheds much light on some of Hollywood's best known and loved repertoire, explaining how the film industry made certain songs memorable, and highlighting important moments of film history along the way. The book focuses on how the songs were presented in the movies, from early talkies where actors portrayed singers "performing" the songs, to the Golden Age in which characters burst into expressive, integral song--not as a "performance" but as a spontaneous outpouring of feeling. The book looks at song presentation in 1930s classics with Fred Astaire and Ginger Rogers and in 1940s gems with Judy Garland and Gene Kelly. The authors also look at the decline of the genre since 1960, when most original musicals were replaced by film versions of Broadway hits such as My Fair Lady.
The musical history of Hollywood and the Academy Awards goes back to 1934, when "The Continental" from The Gay Divorcee won the first Oscar for Best Original Song. Since then, Oscar-nominated songs have come from every genre, including dance numbers, serious compositions, and rock and roll. Author Sackett lists the songs nominated each year through 1993, listing lyricists and composers, the film each appeared in, and historical information and inside anecdotes. Appendixes list title songs, films that songs have been nominated from, most Oscar nominations by lyricist (first is Sammy Cahn with 26) and by composer (James Van Heusen, 14), and other Oscar factoids. Annotation copyright by Book News, Inc., Portland, OR
A Biographical Guide to the Great Jazz and Pop Singers by Will Friedwald Pdf
An extensive biographical and critical survey of more than 300 jazz and popular singers is comprised of provocative, opinionated essays that incorporate the views of peers, fans and critics while assessing key movements and genres.
From his humble beginnings as a Coney Island piano player, Jimmy Durante was one of America's best-loved entertainers for nearly seven decades. Known for his distinctive "schnozzle" and raspy voice, the multitalented performer became a stage, screen and recording star. Every aspect of Jimmy Durante's career is covered here: his early vaudeville and Broadway days; the 38 movies he made; his radio appearances; the mixture of new and old material he brought to television in the late 1950s; and his work as a singer and composer.
Hollywood's conversion from silent to synchronized sound film production not only instigated the convergence of the film and music industries but also gave rise to an extraordinary period of songs in American cinema. Saying It With Songs considers how the increasing interdependence of Hollywood studios and Tin Pan Alley music publishing firms influenced the commercial and narrative functions of popular songs. While most scholarship on film music of the period focuses on adaptations of Broadway musicals, this book examines the functions of songs in a variety of non-musical genres, including melodramas, romantic comedies, Westerns, prison dramas, and action-adventure films, and shows how filmmakers tested and refined their approach to songs in order to reconcile the spectacle of song performance, the classical norms of storytelling, and the conventions of background orchestral scoring from the period of silent cinema. Written for film and music scholars alike as well as for general readers, Saying It With Songs illuminates the origins of the popular song score aesthetic of American cinema.
Made in 1951, High Noon rapidly became one of the most celebrated and controversial Hollywood dramas of the post-war period. A grave, taut western about community and violence, High Noon collected a clutch of Oscars, helped to re-establish the dwindling fortunes of its star, Gary Cooper, and confirmed the stature of director Fred Zinnemann and producer Stanley Kramer. The film was also a flashpoint for the conflict between the US film industry and McCarthyite anti-communism: writer and associate producer Carl Foreman was hounded off the production and blacklisted. Phillip Drummond offers a detailed account of High Noon's troubled production context and its early public reception, along with career-summaries of the key participants. He analyzes the dramatic organization of the film with close reference to the original short story and Carl Foreman's script, and concludes with an invaluable overview of the long history of critical debates, focusing on questions of social identity and gender. The result is a fresh and nuanced reading of a major classic. Phillip Drummond is Lecturer in Film and Media Studies at the Institute of Education, University of London, UK.
Though chiefly remembered as the dance partner of Fred Astaire, Ginger Rogers had many other significant achievements in the entertainment world. She was a dancer, singer, comedienne, and Academy Award winning dramatic actress, as well as the highest paid Hollywood star in 1942. Miss Faris provides a detailed record of Ginger Roger's life and career, painting a picture of her as one of the most versatile performers in the United States. The volume begins with a short biography of Ginger Rogers, along with a succinct chronology of the major events in her life and career. These portions of the book provide a context for the chapters that follow, which contain annotated entries for her stage, film, radio, and television performances. The entries provide production information and cast listings, along with excerpts from reviews and critical commentaries. An extensive annotated bibliography lists books, magazine and newspaper articles, and movie trade publications that provide further information about Ginger Rogers's fascinating career.
The tangled connections that have bound Jews to African Americans in popular culture and liberal politics are at the heart of this text. It explores blackface in Hollywood films as an aperture to various broader issues.
The Invisible Art of Film Music by Laurence E. MacDonald Pdf
Beginning with the era of synchronized sound in the 1920s, music has been an integral part of motion pictures. Whether used to heighten the tension of a scene or evoke a subtle emotional response, scores have played a significant—if often unrealized—role in the viewer’s enjoyment. In The Invisible Art of Film Music, Laurence MacDonald provides a comprehensive introduction for the general student, film historian, and aspiring cinematographer. Arranged chronologically from the silent era to the present day, this volume provides insight into the evolution of music in cinema and analyzes the vital contributions of scores to hundreds of films. MacDonald reviews key developments in film music and discusses many of the most important and influential scores of the last nine decades, including those from Modern Times, Gone with the Wind, Citizen Kane, Laura, A Streetcar Named Desire, Ben-Hur, Lawrence of Arabia, The Godfather, Jaws, Ragtime, The Mission, Titanic, Gladiator, The Lord of the Rings, Brokeback Mountain,and Slumdog Millionaire. MacDonald also provides biographical sketches of such great composers as Max Steiner, Alfred Newman, Franz Waxman, Bernard Herrmann, Elmer Bernstein, Henry Mancini, Maurice Jarre, John Barry, John Williams, Jerry Goldsmith, Dave Grusin, Ennio Morricone, Randy Newman, Hans Zimmer, and Danny Elfman. Updated and expanded to include scores produced well into the twenty-first century, this new edition of The Invisible Art of Film Music will appeal not only to scholars of cinema and musicologists but also any fan of film scores.
The Works of Arthur Laurents: Politics, Love, and Betrayal by John M. Clum Pdf
Arthur Laurents's career as a playwright, screenwriter, book writer for musicals and director spanned over half a century. His first Broadway play, Home of the Brave, was produced in 1945; his last play, Come Back, Come Back, Wherever You Are, was produced in 2009 when he was ninety-one. Although he is best known for his work on the classic musicals Gypsy and West Side Story and for his screenplays for Rope, The Way We Were, and The Turning Point, Laurents is the author of seventeen full-length plays, numerous screenplays and three volumes of memoirs. Despite the length and distinction of Laurents's career, until now no one has written a full-length critical study of his work. Laurentss' name was associated with a few hit musicals and films, but his best work, the plays he wrote since 1975, are not as well known. One reason is that the economics of the American theatre have changed during the writer's lifetime and Laurents's serious plays were performed Off-Broadway or at regional theatres. Few were published, except in acting editions, until a volume of Selected Plays was assembled in 2005. Moreover, Laurents's highly controversial volumes of memoirs, filled with attacks on people who he felt betrayed him over the years, overshadowed his later work. Ignoring most his own plays in the memoirs did not help to maintain his reputation as a serious playwright This book rectifies the absence of a serious examination of all of Laurents's major work. This first comprehensive study of Laurents's work focuses on the subjects and themes that recur in his work, particularly the interrelated topics of gender politics, homosexuality and the dynamics of marriage. The position of women and gay men changed greatly over the sixty-plus years of Laurents's career and we see those changes reflected in his work, particularly in the shifting power dynamics within a marriage. Laurents was fascinated by the dynamics of marriage. In his plays there is always a tension between love and the difficulty, if not impossibility, of monogamy. In works like The Enclave, we also see a variety of ways in which gay men try to live proud lives in a heteronormative society. In that play and in Two Lives, Laurents examines how gay men negotiate something like a marriage before gay marriages were legally sanctioned. The book also covers the ways in which Laurents's plays reflect his interest in leftist politics from the 1940s through the various liberations of the late 1960s and 1970s. Above all, the study argues that if there is any common theme running through the plays, films and memoirs, it is betrayal-betrayal of marriage partner, friend, artistic collaborator and, most important, betrayal of one's own ideals. The Works of Arthur Laurents will be of particular interest to students and scholarsof American drama, musical theatre, American film, gender studies, gay studies, and Jewish studies.
The 1940s saw a brief audacious experiment in mass entertainment: a jukebox with a screen. Patrons could insert a dime, then listen to and watch such popular entertainers as Nat "King" Cole, Gene Krupa, Cab Calloway or Les Paul. A number of companies offered these tuneful delights, but the most successful was the Mills Novelty Company and its three-minute musical shorts called Soundies. This book is a complete filmography of 1,880 Soundies: the musicians heard and seen on screen, recording and filming dates, arrangers, soloists, dancers, entertainment trade reviews and more. Additional filmographies cover more than 80 subjects produced by other companies. There are 125 photos taken on film sets, along with advertising images and production documents. More than 75 interviews narrate the firsthand experiences and recollections of Soundies directors and participants. Forty years before MTV, the Soundies were there for those who loved the popular music of the 1940s. This was truly "music for the eyes."
Irresistible and authoritative, The Movie Musical! is an in-depth look at the singing, dancing, happy-making world of Hollywood musicals, beautifully illustrated in color and black-and-white--an essential text for anyone who's ever laughed, cried, or sung along at the movies. Leading film historian Jeanine Basinger reveals, with her trademark wit and zest, the whole story of the Hollywood musical--in the most telling, most incisive, most detailed, most gorgeously illustrated book of her long and remarkable career. From Fred Astaire, whom she adores, to La La Land, which she deplores, Basinger examines a dazzling array of stars, strategies, talents, and innovations in the history of musical cinema. Whether analyzing a classic Gene Kelly routine, relishing a Nelson-Jeanette operetta, or touting a dynamic hip hop number (in the underrated Idlewild), she is a canny and charismatic guide to the many ways that song and dance have been seen--and heard--on film. With extensive portraits of everyone from Al Jolson, the Jazz Singer; to Doris Day, whose iconic sunniness has overshadowed her dramatic talents; from Deanna Durbin, that lovable teen-star of the '30s and '40s; to Shirley T. and Judy G.; from Bing to Frank to Elvis; from Ann Miller to Ann-Margret; from Disney to Chicago . . . focusing on many beloved, iconic films (Top Hat; Singin' in the Rain; Meet Me in St. Louis; The Sound of Music) as well as unduly obscure gems (Eddie Cantor's Whoopee!; Murder at the Vanities; Sun Valley Serenade; One from the Heart), this book is astute, informative, and pure pleasure to read.
Author : Jack Raymond Publisher : Washington, D.C. [i.e. Falls Church, VA] (3713 George Mason Dr. #1714, Falls Church 22041) : J. Raymond Page : 606 pages File Size : 43,6 Mb Release : 1998 Category : Motion picture music ISBN : UOM:39015045698753
A comprehensive list of original cast and studio cast performances issued on commercial phonograph records, covering music of the American stage, screen, and television, with composer performances and other selected collateral recordings.
Hollywood's African American Films by Ryan Jay Friedman Pdf
In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white "slumming" in African American cabarets and on the cultural linkage between popular black musical styles and "natural" acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies' treatment of African American characters' decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor.