Name: Composing for the red Screen: Prokofiev and Soviet Film (Oxford Music (en Inglés)
Price: 237716.00 COP
Availability: InStock
Author: Kevin Bartig
ISBN: 9780190213282

portada Composing for the red Screen: Prokofiev and Soviet Film (Oxford Music (en Inglés)

Formato

Libro Físico

Editorial

Oxford University Press

Autor

Kevin Bartig

Año

2014

Idioma

Inglés

N° páginas

248

Encuadernación

Tapa Blanda

ISBN13

9780190213282

Categorías

Rusia
Urss, unión soviética
Historia de otras zonas y regiones geográficas

Composing for the red Screen: Prokofiev and Soviet Film (Oxford Music (en Inglés)

Kevin Bartig (Autor) · Oxford University Press · Tapa Blanda

Libro Nuevo

$ 237.716

$ 432.211

Ahorras: $ 194.495

45% descuento

Envío normal

Origen: Estados Unidos (Costos de importación incluídos en el precio)

Se enviará desde nuestra bodega entre el Lunes 03 de Junio y el Lunes 17 de Junio.

Lo recibirás en cualquier lugar de Colombia entre 1 y 5 días hábiles luego del envío.

Reseña del libro "Composing for the red Screen: Prokofiev and Soviet Film (Oxford Music (en Inglés)"

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. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility.