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Musical modernism and German cinema ...

Finocchiaro, Francesco.

Musical modernism and German cinema from 1913 to 1933

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Musical modernism and German cinema from 1913 to 1933by Francesco Finocchiaro.
作者:	Finocchiaro, Francesco.
出版者:	Cham :Springer International Publishing :2017.
面頁冊數:	xix, 259 p. :ill. (some col.), music, digital ;22 cm.
Contained By:	Springer eBooks
標題:	Motion picturesHistory20th century.Germany
電子資源:	http://dx.doi.org/10.1007/978-3-319-58262-7
ISBN:	9783319582627$q(electronic bk.)

Musical modernism and German cinema from 1913 to 1933
Finocchiaro, Francesco.

Musical modernism and German cinema from 1913 to 1933[electronic resource] /by Francesco Finocchiaro. - Cham :Springer International Publishing :2017. - xix, 259 p. :ill. (some col.), music, digital ;22 cm.

1. Introduction: The cinematic paradigm -- 2. Prologue. Cinema and the arts -- 3. Cinema and expressionist drama -- 4. Paul Hindemtih and the cinematic universe -- 5. Edmund Meisel: the cinematic composer -- 6. Der Rosenkavalier: a problematic remediation -- 7. Cinema and musical theatre: Kurt Weill and the Filmmusik in Royal Palace -- 8. Alban Berg, Lulu and cinema as artifice -- 9. New Objectivity and abstract cinema -- 10. Between film music and chamber music -- 11. Epilogue. The dawn of sound cinema.

This book investigates the relationship between musical Modernism and German cinema. It paves the way for anunorthodox path of research, one which has been little explored up until now. The main figures of musical Modernism, from Alban Berg to Paul Hindemith, and from Richard Strauss to Kurt Weill, actually had a significant relationship with cinema. True, it was a complex and contradictory relationship in which cinema often emerged more as an aesthetic point of reference than an objective reality; nonetheless, the reception of the language and aesthetic of cinema had significant influence on the domain of music. Between 1913 and 1933, Modernist composers' exploration of cinema reached such a degree of pervasiveness and consistency as to become a true aesthetic paradigm, a paradigm that sat at the very heart of the Modernist project. In this insightful volume, Finocchiaro shows that the creative confrontation with the avant-garde medium par excellence can be regarded as a vector of musical Modernism: a new aesthetic paradigm for the very process - of deliberate misinterpretation, creative revisionism, and sometimes even intentional subversion of the Classic-Romantic tradition - which realized the "dream of Otherness" of the Modernist generation.

ISBN: 9783319582627$q(electronic bk.)

Standard No.: 10.1007/978-3-319-58262-7doiSubjects--Topical Terms:

583805
Motion pictures
--History--Germany--20th century.

LC Class. No.: PN1993.5.G3 / F63 2017

Dewey Class. No.: 791.4309430901

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505 0 $a 1. Introduction: The cinematic paradigm -- 2. Prologue. Cinema and the arts -- 3. Cinema and expressionist drama -- 4. Paul Hindemtih and the cinematic universe -- 5. Edmund Meisel: the cinematic composer -- 6. Der Rosenkavalier: a problematic remediation -- 7. Cinema and musical theatre: Kurt Weill and the Filmmusik in Royal Palace -- 8. Alban Berg, Lulu and cinema as artifice -- 9. New Objectivity and abstract cinema -- 10. Between film music and chamber music -- 11. Epilogue. The dawn of sound cinema.
520 $a This book investigates the relationship between musical Modernism and German cinema. It paves the way for anunorthodox path of research, one which has been little explored up until now. The main figures of musical Modernism, from Alban Berg to Paul Hindemith, and from Richard Strauss to Kurt Weill, actually had a significant relationship with cinema. True, it was a complex and contradictory relationship in which cinema often emerged more as an aesthetic point of reference than an objective reality; nonetheless, the reception of the language and aesthetic of cinema had significant influence on the domain of music. Between 1913 and 1933, Modernist composers' exploration of cinema reached such a degree of pervasiveness and consistency as to become a true aesthetic paradigm, a paradigm that sat at the very heart of the Modernist project. In this insightful volume, Finocchiaro shows that the creative confrontation with the avant-garde medium par excellence can be regarded as a vector of musical Modernism: a new aesthetic paradigm for the very process - of deliberate misinterpretation, creative revisionism, and sometimes even intentional subversion of the Classic-Romantic tradition - which realized the "dream of Otherness" of the Modernist generation.
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