En savoir plus
By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s.
Table des matières
Acknowledgements
Note to Readers
Introduction
1. A Biblical Story, for the Post-World-War II Generation?: Victor Young's Music for DeMille's
Samson and Delilah
2. Turning Away from "Concocted Spectacle": Alfred Newman's Score for
David and Bathsheba
3. Spectacle and Authenticity in Miklós Rózsa's
Quo Vadis Score
4. Novel and Film, Music and Miracle: Alfred Newman's Score to
The Robe
5. Spirit and Empire: Elmer Bernstein's Score to
The Ten Commandments
6. The Law of Genre and the Music for
Ben-Hur
7.
King of Kings and the Problem of Repetition
8.
Suoni nuovi, suoni antichi: The Soundscapes of
Barabbas
9. Universality, Transcendence, and Collapse: Music and
The Greatest Story Ever Told
Epilogue
Notes
Bibliography
Index
A propos de l'auteur
Stephen C. Meyer is Associate Professor in the Department of Art and Music Histories at Syracuse University. He is author of
Carl Maria von Weber and the Search for a German Opera (IUP, 2003).
Résumé
Shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation.
