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.
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.
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).
Inhaltsangabe
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
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
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