Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career.
Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career.
Kevin Bartig is Assistant Professor of Musicology at Michigan State University.
Inhaltsangabe
* Acknowledgements * Editorial Matters * Abbreviations * Introduction * Chapter 1. New Media, New Means: Lieutenant Kizhe, 1932-34 * Chapter 2. The Queen of Spades, The 1937 Pushkin Jubilee, and Repatriation * Chapter 3. The Year 1938: Halcyon Days in Hollywood and an Unanticipated Collaboration * Chapter 4. Alexander Nevsky and the Stalinist Museum * Chapter 5. The Wartime Films, 1940-43 * Chapter 6. Ivan the Terrible and the Russian National Tradition * Epilogue * Appendix * Works cited * Index
* Acknowledgements * Editorial Matters * Abbreviations * Introduction * Chapter 1. New Media, New Means: Lieutenant Kizhe, 1932-34 * Chapter 2. The Queen of Spades, The 1937 Pushkin Jubilee, and Repatriation * Chapter 3. The Year 1938: Halcyon Days in Hollywood and an Unanticipated Collaboration * Chapter 4. Alexander Nevsky and the Stalinist Museum * Chapter 5. The Wartime Films, 1940-43 * Chapter 6. Ivan the Terrible and the Russian National Tradition * Epilogue * Appendix * Works cited * Index
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