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Zusatztext Lewis's compelling book captures the excitement and trepidation with which filmmakers, composer, and critics greeted the arrival of synchronized sound film in France, correcting the film music scholarship that conflates Hollywood's transition to synchronized sound film with Europe's. Informationen zum Autor Hannah Lewis, Assistant Professor of Musicology at the University of Texas at Austin, is a historical musicologist who specializes in film music, music and visual media, early twentieth-century French music, and musical theater. Klappentext In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding French musical styles and genres shaped cinematic experiments during the transition to sound. Zusammenfassung In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding French musical styles and genres shaped cinematic experiments during the transition to sound. Inhaltsverzeichnis Acknowledgments Abbreviations Introduction 1. Imagining Sound Film: Debates in the Press 2. Surrealist Sounds: Film Music and the Avant-Garde 3. "An achievement that reflects its native soil": Songs, Stages, Cameras, and the Opérette Filmée 4. Théâtre filmé, Opera, and Cinematic Poetry: The Clair/Pagnol Debate 5. Source Music and Cinematic Realism: Jean Renoir and the Early Poetic Realists 6. "The Music Has Something to Say": The Musical Revisions of L'Atalante (1934) Conclusion: Alternative Paths for Sound Film Select Filmography Select Bibliography Captions
