Synopses & Reviews
John Williams is one of the most renowned film composers in history. He has penned unforgettable scores for
Star Wars, the
Indiana Jones series,
E.T. the Extra-Terrestrial,
Jaws,
Superman, and countless other films. Fans flock to his many concerts, and with forty-nine Academy Award nominations as of 2014, he is the second-most Oscar-nominated person after Walt Disney. Yet despite such critical acclaim and prestige, this is the first book in English on Williamsand#8217;s work and career.
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williamsand#8217;s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywoodand#8217;s Golden Age (1933and#150;58), Emilio Audissino traces the turning points of Williamsand#8217;s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williamsand#8217;s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williamsand#8217;s and#147;neoclassicismand#8221; and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition.
Review
and#147;A much-needed work that captures the spirit and thinking of John Williams. Audissino is to be applauded for taking on such a large musical figure and for presenting him in the most wide-ranging manner. One gets the impression that he has tracked down every significant fact on Mr. Williams.and#8221;and#151;Vincent LoBrutto, author of
Sound-On-FilmReview
and#147;Emilio Audissino should be commended for his passion and research of such a stellar composer as John Williams.and#8221;and#151;Larry Timm, author of
The Soul of Cinema: An Appreciation of Film MusicReview
and#147;One of the finest studies of an individual film director that I have had the pleasure of reading.and#8221;and#151;Paul Buhle, Brown University, coauthor of
Radical Hollywood and
A Very Dangerous CitizenReview
and#147;Neve has given us a multifaceted portrait of a complex, talented, and imperfect man who believed his rediscovery came too late. The and#145;many livesand#8217; and careers of Cy Endfield tell an uneasy story about survival in the entertainment industry, especially during the tumult of the blacklist and years of exile in Britain.and#8221;and#151;Joanna Rapf, editor of Interviews with Sidney Lumet
Synopsis
Long before Stonewall, young Air Force veteran Edward Field, fresh from combat in WWII, threw himself into New York's literary bohemia, searching for fulfillment as a gay man and poet. This work is an account of his avant-garde years in Greenwich Village and the bohemian outposts of Paris' Left Bank and Tangier.
Synopsis
An in-depth examination of how the legendary film composer (
Star Wars,
Jaws,
Superman,
Raiders of the Lost Ark) restored the classical Hollywood music style and became a pivotal figure the history of film music.
Synopsis
Cy Endfield (1914and#150;1995) was a filmmaker (Try and Get Me!, Hell Drivers, Zulu) with interests in close-up magic, science, and invention. The director of several distinctive Hollywood movies, he was blacklisted and refused to "name names" before the House Un-American Activities Committee.
About the Author
Brian Neve is an honorary reader in politics and film at the University of Bath. He is the author of
Film and Politics in America: A Social Tradition and
Elia Kazan: The Cinema of an American Outsider and coeditor of
and#147;Un-Americanand#8221; Hollywood: Politics and Film in the Blacklist Era.
Table of Contents
List of Illustrationsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Acknowledgmentsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Preface on Methodologyand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Introductionand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Part I The Classical Hollywood Music Style
1 "The Classical Hollywood Music": A Chronicleand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
2 "The Classical Hollywood Music": A Stylistic Definitionand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Part II John Williams and the Classical Hollywood Music Style
3 The "Modern" Hollywood Music Style: The Context of Williams's Restorationand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
4 Star Wars: An Oppositional Scoreand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
5 Williams's Early Years: Spotting the First Traces of Neoclassicismand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
6 Jaws: Williams's Neoclassicism Floats Up to the Surfaceand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
7 Williams's Neoclassicism: Style and Habitsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
8 Williams's Naysayers: A Deconstruction of Classical and New Criticismsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
9 Raiders of the Lost Ark Background: A Neoclassical Filmand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
10 Raiders of the Lost Ark Analysis: The Return of Max Steinerand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
11 Beyond the Films: Conductor John Williamsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Conclusionsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Appendix 1
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Completing the Picture: Williams's Versatility for Spielberg (and Others)and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Appendix 2
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Scores for Feature Filmsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; TV Scoresand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Principal Early-Year Collaborationsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Fanfares, Orchestral Miniatures, and Concert Piecesand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Catalogue of Film-Music Concert Piecesand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Principal Medleys and Arrangements from Film Scores, Songs, and Popular Musicand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Notesand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Bibliographyand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Index