Making music in Selznick's Hollywood:
Through the rise and fall of the Hollywood studio system, David O. Selznick reigned as Hollywood's preeminent producer. His reputation depended in large part on music. The orchestral cacophony of King Kong, the pulsing electronic sonorities of Spellbound, and the Tara theme from Gone with the W...
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2018]
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| Schriftenreihe: | The Oxford music/media series
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Through the rise and fall of the Hollywood studio system, David O. Selznick reigned as Hollywood's preeminent producer. His reputation depended in large part on music. The orchestral cacophony of King Kong, the pulsing electronic sonorities of Spellbound, and the Tara theme from Gone with the Wind made music a distinguishing feature of the Selznick experience. By flaunting music's role in film and overseeing its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated a fascination with film scores. But he did not do it alone. In Making Music in Selznick's Hollywood, Nathan Platte brings to light the men and women whose work sounds throughout Selznick's many films. The cast includes familiar composers like Max Steiner, Franz Waxman, and Dimitri Tiomkin, but extends to overlooked contributors, including music editor Audray Granville, orchestrator Hugo Friedhofer, harpist Louise Klos, choral director Jester Hairston, publicist Ted Wick, and many others. Novelists, studio writers, and directors like Alfred Hitchcock also influenced the soundscapes of Selznick's films. Whether working with the producer directly or managing his presence from a distance, all had to reckon with Selznick's musical preoccupations. Rarely was it easy. Rewritten scores, fired personnel, and other skirmishes reflect the troubles-and uneven compromises-that shaped music for films like Gone with the Wind, Duel in the Sun, and Rebecca. Even Selznick anticipated that such problems would "go down in the history of Hollywood as the last wild fling of people who really fiddled-and how!-while Hollywood burned." Drawing on extensive archival research, Platte recounts those stories here, tracing Selznick's musical labors during the silent era through his work at the major studios and his culminating efforts at Selznick International Pictures. Taken together, Selznick's films provide a sweeping vista of the relationships among musicians and filmmakers that defined the Hollywood sound [Publisher description] 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. |
| Beschreibung: | IX, 398 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780199371112 |
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| 520 | 3 | |a Through the rise and fall of the Hollywood studio system, David O. Selznick reigned as Hollywood's preeminent producer. His reputation depended in large part on music. The orchestral cacophony of King Kong, the pulsing electronic sonorities of Spellbound, and the Tara theme from Gone with the Wind made music a distinguishing feature of the Selznick experience. By flaunting music's role in film and overseeing its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated a fascination with film scores. But he did not do it alone. In Making Music in Selznick's Hollywood, Nathan Platte brings to light the men and women whose work sounds throughout Selznick's many films. The cast includes familiar composers like Max Steiner, Franz Waxman, and Dimitri Tiomkin, but extends to overlooked contributors, including music editor Audray Granville, orchestrator Hugo Friedhofer, harpist Louise Klos, choral director Jester Hairston, publicist Ted Wick, and many others. Novelists, studio writers, and directors like Alfred Hitchcock also influenced the soundscapes of Selznick's films. Whether working with the producer directly or managing his presence from a distance, all had to reckon with Selznick's musical preoccupations. Rarely was it easy. Rewritten scores, fired personnel, and other skirmishes reflect the troubles-and uneven compromises-that shaped music for films like Gone with the Wind, Duel in the Sun, and Rebecca. | |
| 520 | |a Even Selznick anticipated that such problems would "go down in the history of Hollywood as the last wild fling of people who really fiddled-and how!-while Hollywood burned." Drawing on extensive archival research, Platte recounts those stories here, tracing Selznick's musical labors during the silent era through his work at the major studios and his culminating efforts at Selznick International Pictures. Taken together, Selznick's films provide a sweeping vista of the relationships among musicians and filmmakers that defined the Hollywood sound [Publisher description] | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS
About the Companion Website lx
Introduction 1
PART I SELZNICK IN THE STUDIO SYSTEM
1. In the Selznick Family Tradition 19
2. “Drama Rising like Mighty Music”: Selznick and Steiner at RKO 37
3. Variations on a Theme: Selznick and Stothart at MGM 71
PART II MUSICALLY INDEPENDENT
4. The Start of Selznick International Pictures 97
5. Music Director Differences: Artful Arbitration through Selznick
Internationals Busiest Years 117
PART III MUSIC FOR HOLLYWOOD’S PRESTIGE PRODUCER
6. Gone with the Wind, Part I: Producing the Score 149
7. Gone with the Wind, Part II: The Music of “Max Steiner and Co.” 171
VU
viii
CONTENTS
8. I Know Just What She s Going Through”: Rebeccas Music
for Interiors 197
9. Together” for the Last Time in Since You Went Away 213
10. Success in Spite of Itself: The Trouble with Spellbound 235
PART IV POSTWAR EXPERIMENTS
11. From the Ranch to the Drawing Room: Duel in the Sun and
The Paradine Case 26s 12 13
12. Our Valedictory to Wild Extravagance”: The Curious
Portrait of Jennie 287
13. Selznick beyond Hollywood 307
Conclusion 325
Acknowledgments ззз
Notes 337
Selected Bibliography 377
Index 381
|
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| era | Geschichte gnd |
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| format | Book |
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| record_format | marc |
| series2 | The Oxford music/media series |
| spelling | Platte, Nathan Verfasser (DE-588)1051536782 aut Making music in Selznick's Hollywood Nathan Platte New York, NY Oxford University Press [2018] © 2018 IX, 398 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier The Oxford music/media series Through the rise and fall of the Hollywood studio system, David O. Selznick reigned as Hollywood's preeminent producer. His reputation depended in large part on music. The orchestral cacophony of King Kong, the pulsing electronic sonorities of Spellbound, and the Tara theme from Gone with the Wind made music a distinguishing feature of the Selznick experience. By flaunting music's role in film and overseeing its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated a fascination with film scores. But he did not do it alone. In Making Music in Selznick's Hollywood, Nathan Platte brings to light the men and women whose work sounds throughout Selznick's many films. The cast includes familiar composers like Max Steiner, Franz Waxman, and Dimitri Tiomkin, but extends to overlooked contributors, including music editor Audray Granville, orchestrator Hugo Friedhofer, harpist Louise Klos, choral director Jester Hairston, publicist Ted Wick, and many others. Novelists, studio writers, and directors like Alfred Hitchcock also influenced the soundscapes of Selznick's films. Whether working with the producer directly or managing his presence from a distance, all had to reckon with Selznick's musical preoccupations. Rarely was it easy. Rewritten scores, fired personnel, and other skirmishes reflect the troubles-and uneven compromises-that shaped music for films like Gone with the Wind, Duel in the Sun, and Rebecca. Even Selznick anticipated that such problems would "go down in the history of Hollywood as the last wild fling of people who really fiddled-and how!-while Hollywood burned." Drawing on extensive archival research, Platte recounts those stories here, tracing Selznick's musical labors during the silent era through his work at the major studios and his culminating efforts at Selznick International Pictures. Taken together, Selznick's films provide a sweeping vista of the relationships among musicians and filmmakers that defined the Hollywood sound [Publisher description] 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. Selznick, David O. 1902-1965 Selznick, David O. 1902-1965 (DE-588)11861312X gnd rswk-swf Geschichte gnd rswk-swf Motion picture music United States History and criticism Motion picture music Production and direction United States History 20th century Motion pictures Production and direction United States History 20th century Filmmusik (DE-588)4017129-2 gnd rswk-swf Produktion (DE-588)4047347-8 gnd rswk-swf Los Angeles- Hollywood (DE-588)4099817-4 gnd rswk-swf Selznick, David O. 1902-1965 (DE-588)11861312X p Los Angeles- Hollywood (DE-588)4099817-4 g Filmmusik (DE-588)4017129-2 s Produktion (DE-588)4047347-8 s Geschichte z DE-604 Erscheint auch als Online-Ausgabe 978-0-19-937113-6 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030043935&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Platte, Nathan Making music in Selznick's Hollywood Selznick, David O. 1902-1965 Selznick, David O. 1902-1965 (DE-588)11861312X gnd Motion picture music United States History and criticism Motion picture music Production and direction United States History 20th century Motion pictures Production and direction United States History 20th century Filmmusik (DE-588)4017129-2 gnd Produktion (DE-588)4047347-8 gnd |
| subject_GND | (DE-588)11861312X (DE-588)4017129-2 (DE-588)4047347-8 (DE-588)4099817-4 |
| title | Making music in Selznick's Hollywood |
| title_auth | Making music in Selznick's Hollywood |
| title_exact_search | Making music in Selznick's Hollywood |
| title_full | Making music in Selznick's Hollywood Nathan Platte |
| title_fullStr | Making music in Selznick's Hollywood Nathan Platte |
| title_full_unstemmed | Making music in Selznick's Hollywood Nathan Platte |
| title_short | Making music in Selznick's Hollywood |
| title_sort | making music in selznick s hollywood |
| topic | Selznick, David O. 1902-1965 Selznick, David O. 1902-1965 (DE-588)11861312X gnd Motion picture music United States History and criticism Motion picture music Production and direction United States History 20th century Motion pictures Production and direction United States History 20th century Filmmusik (DE-588)4017129-2 gnd Produktion (DE-588)4047347-8 gnd |
| topic_facet | Selznick, David O. 1902-1965 Motion picture music United States History and criticism Motion picture music Production and direction United States History 20th century Motion pictures Production and direction United States History 20th century Filmmusik Produktion Los Angeles- Hollywood |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030043935&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT plattenathan makingmusicinselznickshollywood |