1.
Film Music (album)
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Film Music is an album originally released on vinyl by the American trumpeter and synthesizer player, Mark Isham. It consists of extended tracks from the soundtracks of three films, the first track is from the soundtrack of the film Mrs. Soffel. The second track is from the documentary The Times of Harvey Milk and this film won the 1984 Academy Award for best documentary. The material of the track is from the Carroll Ballard film. Like Isham’s previous album, Vapor Drawings, the material on this is deeply atmospheric, of the three films represented, Isham is only credited with performing trumpet on track two, The Times of Harvey Milk
2.
Soundtrack
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In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production. Initially the dialogue, sound effects, and music in a film each has its own track, and these are mixed together to make what is called the composite track. A dubbing track is later created when films are dubbed into another language. This is also known as a M & E track containing all sound elements minus dialogue which is supplied by the foreign distributor in the native language of its territory. The contraction soundtrack came into public consciousness with the advent of so-called soundtrack albums in the late 1940s and these phrases were soon shortened to just original motion picture soundtrack. More accurately, such recordings are made from a music track, because they usually consist of the isolated music from a film, not the composite track with dialogue. The soundtrack to the 1937 Walt Disney film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack. It was released by RCA Victor Records on multiple 78 RPM discs in January 1938 as Songs from Walt Disneys Snow White and the Seven Dwarfs and has since seen numerous expansions and reissues. The first live-action musical film to have a commercially issued soundtrack album was MGM’s 1946 film biography of Show Boat composer Jerome Kern, the album was originally issued as a set of four 10-inch 78-rpm records. Only eight selections from the film were included in this first edition of the album, in order to fit the songs onto the record sides the musical material needed editing and manipulation. Needless to say, it was several generations removed from the original, the playback recordings were purposely recorded very dry, otherwise it would come across as too hollow sounding in large movie theatres. This made these albums sound flat and boxy, the phrase is also sometimes incorrectly used for Broadway cast recordings. While it is correct in some instances to call a soundtrack a cast recording it is never correct to call a cast recording a soundtrack, contributing to the vagueness of the term are projects such as The Sound of Music Live. Which was filmed live on the set for an NBC holiday season special first broadcast in 2013, film score albums did not really become popular until the LP era, although a few were issued in 78-rpm albums. Like the 1967 re-release of the film, this version of the score was artificially enhanced for stereo, in recent years, Rhino Records has released a 2-CD set of the complete Gone With the Wind score, restored to its original mono sound. One of the film scores of all time was John Williams music from the movie Star Wars. Many film score albums go out-of-print after the films finish their theatrical runs, in a few rare instances an entire film dialogue track was issued on records. The 1968 Franco Zeffirelli film of Romeo and Juliet was issued as a 4-LP set, as a single LP with musical and dialogue excerpts, and as an album containing only the films musical score
3.
Dialogue
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Dialogue is a written or spoken conversational exchange between two or more people, and a literary and theatrical form that depicts such an exchange. In the 20th century, philosophical treatments of dialogue emerged from thinkers including Mikhail Bakhtin, Paulo Freire, Martin Buber, although diverging in many details, these thinkers have articulated a holistic concept of dialogue as a multi-dimensional, dynamic and context-dependent process of creating meaning. Educators such as Freire and Ramón Flecha have also developed a body of theory, the term dialogue stems from the Greek διάλογος, its roots are διά and λόγος. The first extant author who uses the term is Plato, in whose works it is associated with the art of dialectic. Latin took over the word as dialogus, in the West, Plato has commonly been credited with the systematic use of dialogue as an independent literary form. Ancient sources indicate, however, that the Platonic dialogue had its foundations in the mime and these works, admired and imitated by Plato, have not survived and we have only the vaguest idea of how they may have been performed. The Mimes of Herodas, which were found in a papyrus in 1891, Plato further simplified the form and reduced it to pure argumentative conversation, while leaving intact the amusing element of character-drawing. By about 400 BC he had perfected the Socratic dialogue, all his extant writings, except the Apology and Epistles, use this form. Following Plato, the became a major literary genre in antiquity. Soon after Plato, Xenophon wrote his own Symposium, also, Two French writers of eminence borrowed the title of Lucian’s most famous collection, both Fontenelle and Fénelon prepared Dialogues des morts. Contemporaneously, in 1688, the French philosopher Nicolas Malebranche published his Dialogues on Metaphysics and Religion, in English non-dramatic literature the dialogue did not see extensive use until Berkeley employed it, in 1713, for his treatise, Three Dialogues between Hylas and Philonous. His contemporary, the Scottish philosopher David Hume wrote Dialogues Concerning Natural Religion, a prominent 19th-century example of literary dialogue was Landor’s Imaginary Conversations. In Germany, Wieland adopted this form for several important satirical works published between 1780 and 1799, in Spanish literature, the Dialogues of Valdés and those on Painting by Vincenzo Carducci are celebrated. Italian writers of collections of dialogues, following Platos model, include Torquato Tasso, Galileo, Galiani, Leopardi, in the 19th century, the French returned to the original application of dialogue. English writers including Anstey Guthrie also adopted the form, but these seem to have found less of a popular following among the English than their counterparts written by French authors. Authors who have employed it include George Santayana, in his eminent Dialogues in Limbo. Also Edith Stein and Iris Murdoch used the dialogue form, Stein imagined a dialogue between Edmund Husserl and Thomas Aquinas. Murdoch included not only Socrates and Alcibiades as interlocutors in her work Acastos, Two Platonic Dialogues, more recently Timothy Williamson wrote Tetralogue, a philosophical exchange on a train between four people with radically different epistemological views
4.
Sound effects
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In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones
5.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
6.
Film director
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A film director is a person who directs the making of a film. Generally, a film director controls a films artistic and dramatic aspects, the director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film, the film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions, there are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors, other film directors have attended a film school. Some outline a general plotline and let the actors dialogue, while others control every aspect. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners, some directors edit or appear in their films, or compose the music score for their films. Film directors create a vision through which a film eventually becomes realized/noticed. Realizing this vision includes overseeing the artistic and technical elements of production, as well as directing the shooting timetable. This entails organizing the crew in such a way as to achieve their vision of the film. This requires skills of leadership, as well as the ability to maintain a singular focus even in the stressful. Moreover, it is necessary to have an eye to frame shots and to give precise feedback to cast and crew, thus. Thus the director ensures that all involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as a jigsaw puzzle with egos. It adds to the pressure that the success of a film can influence when, omnipresent are the boundaries of the films budget. Additionally, the director may also have to ensure an intended age rating, thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that 20-hour days are not unusual, under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a directors film reflects the directors personal creative vision
7.
Film producer
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Film producers fill a variety of roles depending upon the type of producer. During the discovery stage, the producer has to find and acknowledge promising material, then, unless the film is supposed to be based on an original script, the producer has to find an appropriate screenwriter. For various reasons, producers cannot always supervise all of the production, in this case, the main producer may appoint executive producers, line producers, or unit production managers who represent the main producers interests. The producer has the last word on whether sounds or music have to be changed and they are in charge of selling the film or arranging distribution rights as well. The producers role can vary significantly from project to project, based on the circumstances and they generally are in charge of things like hiring staff, creating filming schedules, checking and approving locations, and much more. Producers are present in every genre of television and film. Although each genre might be different from each other, a producers role and job is the same throughout each. A producer from a program can be compared to a producer of a filmmaker despite how different each genre can be. Although the primary role of the producer can be compared to that of a filmmaker, the roles are very wide ranging, due to the fact that this occupation has gone through an enormous amount of stages and phases as time went on. Today, in most cases the roles range from supervising the editing process to hiring the main staff. The producer has an amount of power in every single aspect of the production process. They are never left out and are involved in every single stage of the production. There are times when a producer can try and find promising material to either a feature film or a television program. If a producer decides to do this, it is usually done in the discovery stage, the discovery stage is when a producer is actively looking for a variety of ideas, concepts, and/or promising scripts that he/she could make into a show and/or film. In this stage, a power may even stretch to gathering workers for the selected project. Even though a producer today can have a range of roles within the field. Within the industry, there are different types of producers who are only designated to specific roles such as controlling the staff. For example, to oversee and manage all aspects of production the role may be filled by the line producer
8.
Sound engineer
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An audio engineer works on the recording, manipulating the record using equalization and electronic effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the. technical aspect of recording—the placing of microphones, pre-amp knobs, the physical recording of any project is done by an engineer. Many audio engineers creatively use technologies to produce sound for film, radio, television, music, electronic products and computer games. Audio engineers also set up, sound check and do live sound mixing using an audio console, research and development audio engineers invent new technologies, equipment and techniques, to enhance the process and art of audio engineering. They might also be referred to as acoustic engineers, audio engineers in research and development usually possess a bachelors degree, masters degree or higher qualification in acoustics, physics, computer science or another engineering discipline. They might work in consultancy, specializing in architectural acoustics. Alternatively they might work in companies, or other industries that need audio expertise. Some positions, such as faculty require a Doctor of Philosophy, in Germany a Toningenieur is an audio engineer who designs, builds and repairs audio systems. The listed subdisciplines are based on PACS coding used by the Acoustical Society of America with some revision, audio engineers develop algorithms to allow the electronic manipulation of audio signals. These can be processed at the heart of audio production such as reverberation. Alternatively, the algorithms might carry out echo cancellation on Skype, or identify, architectural acoustics is the science and engineering of achieving a good sound within a room. For audio engineers, architectural acoustics can be about achieving good speech intelligibility in a stadium or enhancing the quality of music in a theatre, architectural Acoustic design is usually done by acoustic consultants. Electroacoustics is concerned with the design of headphones, microphones, loudspeakers, sound reproduction systems, examples of electroacoustic design include portable electronic devices, sound systems in architectural acoustics, surround sound in movie theater and vehicle audio. Musical acoustics is concerned with researching and describing the science of music, in audio engineering, this includes the design of electronic instruments such as synthesizers, the human voice, computer analysis of audio, music therapy, and the perception and cognition of music. Psychoacoustics is the study of how humans respond to what they hear. At the heart of audio engineering are listeners who are the final arbitrator as to whether a design is successful. The production, computer processing and perception of speech is an important part of audio engineering, ensuring speech is transmitted intelligibly, efficiently and with high quality, in rooms, through public address systems and through mobile telephone systems are important areas of study. Producer, engineer, and mixer Phil Ek has described audio engineering as the aspect of recording—the placing of microphones, the turning of pre-amp knobs
9.
Western classical music
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Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
10.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
11.
Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis
12.
Pop music
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Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
13.
Blues music
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
14.
New-age music
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New Age music is a genre of music intended to create artistic inspiration, relaxation, and optimism. There is no definition of New Age music. An article in Billboard magazine in 1987 commented that New Age music may be the most startling successful non-defined music ever to hit the public consciousness. Many consider it to be a term for marketing rather than a musical category. New Age music was influenced by a range of artists from a variety of genres. Tony Scotts Music for Zen Meditation is considered to be the first New Age recording, paul Horn was one of the important pioneers. Irv Teibels Environments series featured natural soundscapes, tintinnabulation, and Om chants and were some of the first publicly available psychoacoustic recordings, Steven Halperns 1975 Spectrum Suite was a key work that began the New Age music movement. New Age music is defined more by the use and effect or feeling it produces rather than the instruments and genre used in its creation, it may be acoustic, electronic, or a mixture of both. There is also a significant overlap of sectors of New Age music with ambient music, classical music, jazz, electronica, world music, chillout, space music, pop music, the proponents of this definition are almost always musicians who create their music expressly for these purposes. To be useful for meditation music needs to have repetitive dynamic and texture, without sudden loud chords and it is minimalist in conception, and thus are mostly instrumentalist rather than vocalist musicians. Subliminal messages are used in New Age music, and the use of music instruments along the natural sounds of the animals. Music which is found in the New Age sections of record stores, stephen Hill, founder of the Hearts of Space in 1973, considers that many of the artists are very sincerely and fully committed to New Age ideas and ways of life. Some composers like Kitarō consider their music to be part of their growth, as well expressing values. However, it is noted that New Age music is a mere popular designation which successfully sells records. J. Gordon Melton argued it does not refer to a genre of music. Kay Gardner considered that the label New Age is considered an inauthentic commercial intention of the so-called New Age music. She commented that a lot of New Age music is schlock and how due to records sales everyone with a home studio put in some sounds of crickets, oceans, or rivers, as a guarantee of sales. Thus under the term, some consider that the Mike Oldfields progressive rock album Tubular Bells became one of the first albums to be referred to under the genre description of New Age
15.
World music
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The term was popularized in the 1980s as a marketing category for non-Western traditional music. Globalization has facilitated the expansion of world musics audiences and scope and it has grown to include hybrid subgenres such as world fusion, global fusion, ethnic fusion, and worldbeat. To enhance the process of learning, he invited more than a dozen visiting performers from Africa and Asia, the term became current in the 1980s as a marketing/classificatory device in the media and the music industry. There are several conflicting definitions for world music, one is that it consists of all the music in the world, though such a broad definition renders the term virtually meaningless. The term also is taken as a classification of music that combines Western popular music styles with one of many genres of music that are also described as folk music or ethnic music. However, world music is not exclusively traditional folk music and it may include cutting edge pop music styles as well. Succinctly, it can be described as music from out there. It is a nebulous term with an increasing number of genres that fall under the umbrella of world music to capture musical trends of combined ethnic style and texture. As a result, definitions of the genre have become particularly varied, similar terminology between distinctly different sub-categories under primary music genres, such as world, rock and pop can be as ambiguous and confusing to industry moguls as it is to consumers. In a report on the 2014 globalFEST National Public Radios Anastasia Tsioulcas said Even within the music community. Whats more, I believe that in peoples imaginations, world music means a kind of fairly awful, gloppy, hippy-ish. Its a problematic, horrible term that satisfies absolutely no one, the Breton musician Alan Stivell pioneered the connection between traditional folk music, modern rock music and world music with his 1972 album Renaissance of the Celtic Harp. At this time, Stivells contemporary, Welsh singer-songwriter Meic Stevens popularised Welsh folk music, more recently, other Welsh-language bands such as Calan and 9 Bach have achieved international acclaim. The broad category of music includes isolated forms of ethnic music from diverse geographical regions. These dissimilar strains of music are commonly categorized together by virtue of their indigenous roots. World fusion / Worldbeat / Ethnic fusion / Global fusion can also blend specific indigenous sounds with more blatant elements of Western pop. Depending on style and context, world music can sometimes share the music genre. Good examples are Tibetan bowls, Tuvan throat singing, Gregorian chant or Native American flute music, World music blended with new-age music is a sound, loosely classified as the hybrid genre, ethnic fusion
16.
Orchestra
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The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus. A full-size orchestra may sometimes be called an orchestra or philharmonic orchestra. The actual number of employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played. The term chamber orchestra usually refers to smaller-sized ensembles of about fifty musicians or fewer, the typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, and later, Gustav Mahler. Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, the conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The first violin, commonly called the concertmaster, also plays an important role in leading the musicians, the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings. The orchestra, depending on the size, contains almost all of the instruments in each group. Chamber orchestra usually refers to smaller-sized ensembles, a chamber orchestra might employ as many as fifty musicians. The term concert orchestra may also be used, as in the BBC Concert Orchestra, the so-called standard complement of doubled winds and brass in the orchestra from the first half of the 19th century is generally attributed to the forces called for by Beethoven. The composers instrumentation almost always included paired flutes, oboes, clarinets, bassoons, horns, the exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No,4, which each specify a single flute. Beethoven carefully calculated the expansion of this particular timbral palette in Symphonies 3,5,6, the third horn in the Eroica Symphony arrives to provide not only some harmonic flexibility, but also the effect of choral brass in the Trio movement. Piccolo, contrabassoon, and trombones add to the finale of his Symphony No.5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth, for several decades after his death, symphonic instrumentation was faithful to Beethovens well-established model, with few exceptions. Apart from the core orchestral complement, various instruments are called for occasionally. These include the guitar, heckelphone, flugelhorn, cornet, harpsichord. Saxophones, for example, appear in some 19th- through 21st-century scores.6 and 9 and William Waltons Belshazzars Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked tenor tuba, including Gustav Holsts The Planets, cornets appear in Pyotr Ilyich Tchaikovskys ballet Swan Lake, Claude Debussys La Mer, and several orchestral works by Hector Berlioz
17.
Sampling (music)
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In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a sound recording in a different song or piece. Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, by the late 1960s, the use of tape loop sampling influenced the development of minimalist music and the production of psychedelic rock and jazz fusion. Hip hop music was the first popular music based on the art of sampling – being born from 1970s DJs who experimented with manipulating vinyl on two turntables and an audio mixer. Historically, sampling was most often done with a sampler — a specialized piece of hardware — but today, however, vinyl emulation software may also be used, and turntablists continue to sample using traditional methods. Often samples consist of one part of a song, such as a rhythm break, for instance, hip hop music developed from DJs looping the breaks from songs to enable continuous dancing. Samples can also consist of words and phrases, including those in non-musical media such as movies, TV shows. Sampling does not necessarily mean using pre-existing recordings, a number of composers and musicians have constructed pieces or songs by sampling field recordings they made themselves, and others have sampled their own original recordings. The use of sampling is controversial legally and musically, in the 1970s, when hip hop was confined to local dance parties, it was unnecessary to obtain copyright clearance in order to sample recorded music at these parties. Aside from legal issues, sampling has been championed and criticized. Hip-hop DJs today take different approaches to sampling, with critical of its obvious use. Some critics, particularly those with a rockist outlook, have expressed the belief all sampling is lacking in creativity, while others say sampling has been innovative and revolutionary. Those whose own work has been sampled have also voiced a variety of opinions about the practice. Once recorded, samples can be edited, played back, or looped, types of samples include, The drums and percussion parts of many modern recordings are really a variety of short samples of beats strung together. Many libraries of such beats exist and are licensed so that the user incorporating the samples can distribute their recording without paying royalties, such libraries can be loaded into samplers. Though percussion is an application of looping, many kinds of samples can be looped. A piece of music may have an ostinato which is created by sampling a phrase played on any kind of instrument, there is software which specializes in creating loops. Whereas loops are usually a phrase played on a musical instrument, Music workstations and samplers use samples of musical instruments as the basis of their own sounds, and are capable of playing a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of their sounds, most such samples are created in professional recording studios using world-class instruments played by accomplished musicians
18.
Musical film
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The musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing. The songs usually advance the plot or develop the characters, though in some cases they serve merely as breaks in the storyline. The musical film was a development of the stage musical after the emergence of sound film technology. Typically, the biggest difference between film and stage musicals is the use of background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater, performers often treat their song, in a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it. The 1930s through the early 1950s are considered to be the age of the musical film. Musical short films were made by Lee de Forest in 1923–24, beginning in 1926, thousands of Vitaphone shorts were made, many featuring bands, vocalists and dancers. The Jazz Singer, released in 1927 by Warner Brothers, was the first to include a track including non-diegetic music and diegetic music. This feature-length film was also a musical, featuring Al Jolson singing Dirty Hands, Dirty Face, Toot, Toot, Tootsie, Blue Skies and My Mammy. Historian Scott Eyman wrote, As the film ended and applause grew with the houselights and she saw terror in all their faces, she said, as if they knew that the game they had been playing for years was finally over. Still, only isolated sequences featured live sound, most of the film had only a musical score. In 1928, Warner Brothers followed this up with another Jolson part-talkie, The Singing Fool, theaters scrambled to install the new sound equipment and to hire Broadway composers to write musicals for the screen. The first all-talking feature, Lights of New York, included a sequence in a night club. The enthusiasm of audiences was so great that in less than an all the major studios were making sound pictures exclusively. The Broadway Melody had a plot about two sisters competing for a charming song-and-dance man. Advertised by MGM as the first All-Talking, All-Singing, All-Dancing feature film, it was a hit, there was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits. The Love Parade starred Maurice Chevalier and newcomer Jeanette MacDonald, written by Broadway veteran Guy Bolton, Warner Brothers produced the first screen operetta, The Desert Song in 1929. They spared no expense and photographed a large percentage of the film in Technicolor and this was followed by the first all-color, all-talking musical feature which was entitled On with the Show
19.
James Horner
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James Roy Horner was an American composer, conductor and orchestrator of film scores. He was known for the integration of choral and electronic elements in many of his film scores, and for his frequent use of motifs associated with Celtic music. His first major film score was for the 1979 film The Lady in Red, but did not establish himself as a mainstream composer until he worked on the 1982 film Star Trek II, The Wrath of Khan. Horner composed music for over 100 films, he won two Academy Awards, two Golden Globe Awards, three Satellite Awards, and three Saturn Awards, and was nominated for three British Academy Film Awards. Horner was killed in a single-fatality crash of his Short Tucano turboprop aircraft at the age of 61, Horner was born in 1953 in Los Angeles, California, to Jewish immigrants. His father, Harry Horner, was born in Holíč, then a part of Austria-Hungary and he immigrated to the United States in 1935 and worked as a set designer and art director. His mother, Joan Ruth, was born into a prominent Canadian family, Horners brother Christopher is a writer and documentary filmmaker. James Horner started playing piano at the age of five and his early years were spent in London, where he attended the Royal College of Music. He returned to America, where he attended Verde Valley School in Sedona, Arizona, after he earned a masters degree, he started work on his doctorate at the University of California, Los Angeles, where he studied with Paul Chihara, among others. After several scoring assignments with the American Film Institute in the 1970s, he finished teaching a course in theory at UCLA. Horner was also a pilot, and owned several small airplanes. Horner began his career scoring films by working for B film director, Horners first composer credit was for Cormans Battle Beyond the Stars. From there, his works gained notice in Hollywood, which enabled him to take on larger projects, One of his first major film scores was for the 1979 film The Lady in Red. Horners major breakthrough came in 1982, when he had the chance to score the music to Star Trek II, The Wrath of Khan, Horner continued composing music for high-profile releases during the 1980s, including 48 Hrs. Krull, Star Trek III, The Search for Spock, Commando, Cocoon, Aliens, *batteries not included, Willow, Glory and he frequently collaborated with film director Ron Howard, a partnership that began with Cocoon in 1985. Aliens earned Horner his first Academy Award nomination for Best Original Score in 1987, somewhere Out There, which he co-composed and co-wrote with Barry Mann and Cynthia Weil for An American Tail, was also nominated that year for Best Original Song. A Dinosaurs Story, The Pagemaster, and Casper, Jumanji, and Balto, Mighty Joe Young, Horners biggest financial and critical success would come with the score to the 1997 film Titanic. The album became the best-selling primarily orchestral soundtrack in history, selling over 27 million copies worldwide, at the 70th Academy Awards, Horner won Oscars for Best Original Dramatic Score and Best Original Song for My Heart Will Go On
20.
My Heart Will Go On
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My Heart Will Go On, also called the Love Theme from Titanic, is the main theme song to James Camerons blockbuster film Titanic. Its music was composed by James Horner, its lyrics were written by Will Jennings, and it was produced by Walter Afanasieff and Simon Franglen, recorded by Celine Dion, and released in 1997. My Heart Will Go On was released in Australia and Germany on 8 December 1997, the song became Dions biggest hit, and one of the best-selling singles of all time, and was the worlds best-selling single of 1998. The music video was directed by Bille Woodruff and released at the end of 1997, due to the songs widespread popularity when it was released, it is considered to be Dions signature song. It was also included in the list of Songs of the Century, by the Recording Industry Association of America and he then wanted to prepare a full vocal version of it, for use in the end credits of the film. Lyricist Will Jennings was hired, who wrote the lyrics from the point of view of a person of a great age looking back so many years, director James Cameron did not want such a song, but Will Jennings went ahead anyway and wrote the lyrics. When Dion originally heard the song, she did not want to record it as she felt she was pushing her luck by singing another film theme song after Beauty and the Beast. Horner showed the sketch to Simon Franglen, who was working with him on electronic textures. Franglen, who had, himself, worked with Dion for several years on many of her hits to date. In Hitmaker, The Man and His Music by Tommy Mottola, he claims that Dion recorded the song in one take, Mottola states that since so much money was on the line for Camerons film that Cameron felt obligated to include a theme song to promote the movie. Dions manager and husband René Angélil convinced her to sing on this demo version, Horner waited until Cameron was in an appropriate mood before presenting him with the song. After playing it several times, Cameron declared his approval, even though he worried that he might be criticized for going commercial at the end of the movie. Cameron also wanted to appease anxious studio executives and saw that a hit song from his movie could only be a factor in guaranteeing its completion. The song is written in the key of E major, though the leitmotif is in the key of C♯ minor. The verses follow the progression of E–Bsus4–Aadd9–E–B. The chorus has the chord progression of C♯m–B–A–B, the song modulates to F minor in the final chorus, and ends in the key of A♭ major. It contains heavy emphasis on the instrumental arranging, usage of flute is prominent, backed by melodic use of strings and rhythm guitars. The song features acoustic and electronic instrumentation
21.
Titanic (1997 film)
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Titanic is a 1997 American epic romance-disaster film directed, written, co-produced, and co-edited by James Cameron. Camerons inspiration for the film came from his fascination with shipwrecks, production began in 1995, when Cameron shot footage of the actual Titanic wreck. The modern scenes on the vessel were shot on board the Akademik Mstislav Keldysh. Scale models, computer-generated imagery, and a reconstruction of the Titanic built at Playas de Rosarito in Baja California were used to re-create the sinking, the film was partially funded by Paramount Pictures and 20th Century Fox. It was the most expensive film made at time, with an estimated budget of $200 million. Upon its release on December 19,1997, Titanic achieved critical and commercial success, with an initial worldwide gross of over $1.84 billion, Titanic was the first film to reach the billion-dollar mark. It remained the highest-grossing film of all time until Camerons 2009 film Avatar surpassed it in 2010. A 3D version of Titanic, released on April 4,2012 to commemorate the centennial of the sinking, earned it an additional $343.6 million worldwide and it became the second film to gross more than $2 billion worldwide. In 2015, Titanic Live, an orchestra version of the film. In 1996, treasure hunter Brock Lovett and his team aboard the research vessel Akademik Mstislav Keldysh search the wreck of RMS Titanic for a necklace with a rare diamond, the Heart of the Ocean. They recover a safe containing a drawing of a woman wearing only the necklace dated April 14,1912. Rose Dawson Calvert, the woman in the drawing, is brought aboard Keldysh, in 1912 Southampton, 17-year-old first-class passenger Rose DeWitt Bukater, her fiancé Cal Hockley, and her mother Ruth board the luxurious Titanic. Ruth emphasizes that Roses marriage will resolve their familys financial problems, distraught over the engagement, Rose considers suicide by jumping from the stern, Jack Dawson, a penniless artist, intervenes and discourages her. Discovered with Jack, Rose tells a concerned Cal that she was peering over the edge, when Cal becomes indifferent, she suggests to him that Jack deserves a reward. He invites Jack to dine with them in first class the following night, Jack and Rose develop a tentative friendship, despite Cal and Ruth being wary of him. Following dinner, Rose secretly joins Jack at a party in third class, aware of Cal and Ruths disapproval, Rose rebuffs Jacks advances, but realizes she prefers him over Cal. After rendezvousing on the bow at sunset, Rose takes Jack to her room, at her request, Jack sketches Rose posing nude wearing Cals engagement present. They evade Cals bodyguard and have sex in an automobile inside the cargo hold, on the forward deck, they witness a collision with an iceberg and overhear the officers and designer discussing its seriousness
22.
Celine Dion
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Céline Marie Claudette Dion, CC OQ ChLD is a Canadian singer and businesswoman. Dion first gained recognition in the 1980s by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest where she represented Switzerland. Following a series of French albums during the 1980s, she signed on to Epic Records in the United States, in 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. During the 1990s, with the help of Angélil, she achieved fame after releasing several English albums along with additional French albums. Her albums, Falling into You and Lets Talk About Love, were certified diamond in the US while Deux became the best-selling French-language album of all time. However, in 1999 at the height of her success, Dion announced a hiatus from entertainment to start a family and spend time with her husband and she returned to the top of pop music in 2002 and signed to perform nightly in A New Day. A five-star theatrical show at the Colosseum at Caesars Palace, Paradise and it became the most successful residency show of all time, grossing US $385 million. Dions music has influenced by genres ranging from rock and R&B to gospel. Her recordings are mainly in French and English, although she sings in Spanish, Italian, German, Latin, Japanese. While her releases have received mixed critical reception, she is regarded as one of pop musics most influential voices. Dion has won five Grammy Awards, including Album of the Year and she is the second best-selling female artist in the US during the Nielsen SoundScan era. In 2003, Dion was honoured by the International Federation of the Phonographic Industry for selling over 50 million albums in Europe, Dion remains the best-selling Canadian artist and one of the best-selling artists of all time with record sales of over 200 million copies worldwide. Dion was born in Charlemagne, Quebec, Canada, the youngest of 14 children of Thérèse, a homemaker, and Adhémar Dion, Dion was raised a Roman Catholic in a poverty-stricken, but, by her own account, happy home in Charlemagne. Music had always been a part of the Dion family, indeed, Dion herself was named after the song Céline. Thereafter, she continued to perform with her siblings in her parentss small piano bar called Le Vieux Baril, from an early age, Dion had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, I missed my family and my home, I had one dream, I wanted to be a singer. At age 12, Dion collaborated with her mother and her brother Jacques to write and compose her first song, Ce nétait quun rêve, whose title translates as It Was Only a Dream or Nothing But A Dream. Her brother, Michel Dion, sent the recording to music manager René Angélil, Angélil was moved to tears by Dions voice and decided to make her a star
23.
Film editing
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Film editing is a creative and technical part of the post-production process of filmmaking. The term is derived from the process of working with film. The film editor works with the raw footage, selecting shots, Film editing is often referred to as the invisible art because when it is well-practiced, the viewer can become so engaged that he or she is not aware of the editors work. On its most fundamental level, film editing is the art, technique, the job of an editor is not simply to mechanically put pieces of a film together, cut off film slates, or edit dialogue scenes. Editors usually play a role in the making of a film. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai, with the advent of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just that—picture, sound, music, and visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor and it is common, especially on lower budget films, for the editor to cut in music, mock up visual effects, and add sound effects or other sound replacements. These temporary elements are replaced with more refined final elements by the sound, music. Early films were films that were one long, static. Motion in the shot was all that was necessary to amuse an audience, there was no story and no editing. Each film ran as long as there was film in the camera, in the first shot, an elderly couple is outside an art exhibition having lunch and then follow other people inside through the door. The second shot shows what they do inside, one of the first films to use this technique, Georges Mélièss The Four Troublesome Heads from 1898, was produced with Pauls camera. There is then a cut to close shot of the hands on the girls foot shown inside a circular mask. Even more remarkable was James Williamsons Attack on a China Mission Station, an armed party of British sailors arrived and defeat the Boxers and rescue the missionarys family. The film used the first reverse angle cut in film history, James Williamson concentrated on making films taking action from one place shown in one shot to the next shown in another shot in films like Stop Thief. and Fire. Made in 1901, and many others and he also experimented with the close-up, and made perhaps the most extreme one of all in The Big Swallow, when his character approaches the camera and appears to swallow it. These two filmmakers of the Brighton School also pioneered the editing of the film, they tinted their work with color, by 1900, their films were extended scenes of up to 5 minutes long
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Godfrey Reggio
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Godfrey Reggio is an American director of experimental documentary films. Reggio co-founded La Clinica de la Gente, a facility that provided care to 12,000 community members in Santa Fe, and La Gente. In 1963 he co-founded Young Citizens for Action, a community project that aided juveniles among the street gangs in Santa Fe. In 1972, he co-founded the Institute for Regional Education in Santa Fe, a foundation focused on media development, the arts, community organization. Reggio resides in Santa Fe, New Mexico and is focusing on a narrative-based film exploring the negative impacts of consumerism and fundamentalism on the world. Godfrey Reggio participated in the Stock Exchange of Visions project in 2006, Reggio is most known for his Qatsi trilogy, which includes the films Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi. All of the titles are taken from the Hopi language, Koyaanisqatsi meaning life out of balance, Powaqqatsi meaning life in transformation. In 1995 he directed the feature entitled Evidence that featured, like the Qatsi Trilogy. Also, he has directed a documentary Anima Mundi and this film was funded by the World Wide Fund for Nature to promote their Diversity Program. Reggios most recent film is Visitors, which premiered at the 2013 Toronto International Film Festival, Philip Glass returns as the films composer, and Jon Kane as the Visual Designer. In 2014 Reggio was recognized by the Museum of Arts and Design in New York City with a career retrospective entitled Life with Technology. Koyaanisqatsi, Life Out of Balance Powaqqatsi a. k. a, Powaqqatsi, Life in Transformation Songlines Segment, Patricias Park Anima Mundi a. k. a. The Soul of the World Evidence Naqoyqatsi a. k. a
25.
Koyaanisqatsi
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Koyaanisqatsi, also known as Koyaanisqatsi, Life Out of Balance, is a 1982 American experimental film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke. The film consists primarily of slow motion and time-lapse footage of cities, the visual tone poem contains neither dialogue nor a vocalized narration, its tone is set by the juxtaposition of images and music. Reggio explained the lack of dialogue by stating its not for lack of love of the language that these films have no words and its because, from my point of view, our language is in a state of vast humiliation. It no longer describes the world in which we live, in the Hopi language, the word Koyaanisqatsi means unbalanced life. The film is the first in the Qatsi trilogy of films, the trilogy depicts different aspects of the relationship between humans, nature and technology. Koyaanisqatsi is the best known of the trilogy and is considered a cult film, however, because of copyright issues, the film was out of print for most of the 1990s. The first image in the film is of the Great Gallery pictograph in Horseshoe Canyon, the section shown depicts several tall, shadowed figures standing near a taller figure adorned with a crown. The next image is a close-up of a Saturn V rocket during its launch, the film fades into a shot of a desolate desert landscape. From there, it progresses to footage of natural phenomena such as waves. The films introduction to human involvement in the environment is a low aerial shot of choppy water, after aerial views of monumental rock formations partly drowned by the artificial Lake Powell, we see a large mining truck causing billows of black dust. This is followed by shots of power lines in the desert, mans continued involvement in the environment is depicted through images of mining operations, oil fields, the Navajo Generating Station, the Glen Canyon Dam, and atomic bomb detonations in a desert. Following the atomic bomb detonations, the sequence begins with a shot of sunbathers on a beach. Shots of taxiing United Airlines Boeing 747 aircraft and traffic patterns during rush hour are seen on a freeway and this is followed with stock footage of Soviet tanks lined up in rows and a military aircraft, and an aircraft carrier. Time-lapse photography of shadows of clouds are seen moving across the skyscrapers, shots of various housing projects in disrepair, and includes footage of the decay and demolition of the Pruitt-Igoe housing project in St. Louis. The sequence ends with footage of the destruction of large buildings, a time-lapse shot of a crowd of people who appear to be waiting in a line. This is followed by shots of people walking along streets in slow motion, the next sequence begins with shots of buildings and a shot of a sunset reflected in the glass of a skyscraper. The sequence uses time-lapse photography of the activity of modern life, the events captured in this sequence involve people interacting with modern technology. The first shots are traffic patterns as seen from skyscrapers at night and this is followed by a composite shot of the moon passing behind a skyscraper
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Powaqqatsi
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Powaqqatsi, or Powaqqatsi, Life in Transformation, is a 1988 American documentary film directed by Godfrey Reggio and the sequel to Reggios experimental 1982 film, Koyaanisqatsi. It is the film in the Qatsi trilogy. Powaqqatsi is a Hopi neologism coined by Reggio meaning parasitic way of life or life in transition, as with Koyaanisqatsi and the third and final part of the Qatsi trilogy, Naqoyqatsi, the film is strongly related to its soundtrack, written by Philip Glass. Here, human voices appear more than in Koyaanisqatsi, in harmony with the films message, in the beginning chapter, Serra Pelada, men from Serra Pelada are seen carrying bags of dirt up to a destination. In the middle of the chapter, various shots outside of Serra Pelada are shown, near the end of the chapter, a few men are carrying another man who was struck by a falling rock uphill along a procession of workers who are carrying dirt filled sacks. After that, several discordant layered exposures of the carriers are shown. The scene cross fades to show the image of a head, with multiple exposures of the head rapidly rotating. This is an apparent allusion to Janus, the god of beginnings, endings and transitions, keeping with the central themes of progress. After that, the title is shown in red. In Anthem, Part 1, the sun rises up above an African village, later, a man raises a sail for a boat. The next chapter, That Place, starts zooming out from a waterfall, villages are shown as well as children and upside down water reflections. Anthem, Part 2 has various shots of villages and islands shown, mosque and Temple shows various natural shots as well as religious scenes. Rotten Tomatoes reported that 63% out of 8 reviews were positive with the score of 6.8 out of 10. The music from Anthem, Part 2 was used in the 1998 film The Truman Show and several film trailers, footage from the film was used in an unofficial music video for the Alt-J song Taro. Koyaanisqatsi Naqoyqatsi Baraka Official website Powaqqatsi at the Internet Movie Database Powaqqatsi at Rotten Tomatoes
27.
Philip Glass
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Philip Morris Glass is an American composer. He is considered one of the most influential makers of the late 20th century. Glasss compositions have been described as music, similar to other minimalist composers including La Monte Young, Steve Reich. However, Glass has described himself instead as a composer of music with repetitive structures, Glass founded the Philip Glass Ensemble, with which he still performs on keyboards. He has written numerous operas and musical works, eleven symphonies, eleven concertos, seven string quartets and various other chamber music. Three of his scores have been nominated for Academy Awards. Glass was born in Baltimore, Maryland, the son of Ida and his family were Jewish immigrants from Lithuania. His father owned a store and his mother was a librarian. She developed a plan to help them learn English and develop skills so they could find work and his sister, Sheppie, would later do similar work as an active member of the International Rescue Committee. Glass developed his appreciation of music from his father, discovering later his fathers side of the family had many musicians and his cousin Cevia was a classical pianist, while others had been in vaudeville. He learned his family was related to Al Jolson. Glasss father often received promotional copies of new recordings at his music store and he spent many hours listening to them, developing his knowledge and taste in music. This openness to modern sounds affected Glass at an age, My father was self-taught, but he ended up having a very refined and rich knowledge of classical, chamber. Typically he would come home and have dinner, and then sit in his armchair, I caught on to this very early, and I would go and listen with him. The elder Glass promoted both new recordings and a selection of composers to his customers, sometimes convincing them to try something new by allowing them to return records they didnt like. His store soon developed a reputation as Baltimores leading source of modern music, Glass cites Schuberts work as a big influence growing up. He studied the flute as a child at the school of the Peabody Institute. At the age of 15, he entered a college program at the University of Chicago where he studied mathematics
28.
Sergio Leone
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Sergio Leone was an Italian film director, producer and screenwriter, credited as the inventor of the Spaghetti Western genre. Leones film-making style includes juxtaposing extreme close-up shots with lengthy long shots. born in Rome, Leone was the son of the cinema pioneer Vincenzo Leone and the silent film actress Edvige Valcarenghi. During his schooldays, Leone was a classmate of his musical collaborator Ennio Morricone for a time. After watching his work on film sets, Leone began his own career in the film industry at the age of 18 after dropping out of law studies at the university. Working in Italian cinematography, he began as an assistant to Vittorio de Sica during the movie The Bicycle Thief in 1948, Leone began writing screenplays during the 1950s, primarily for the sword and sandal historical epics, popular at the time. When director Mario Bonnard fell ill during the production of the 1959 Italian epic The Last Days of Pompeii, starring Steve Reeves, Leone was asked to step in and complete the film. As a result, when the time came to make his directorial debut with The Colossus of Rhodes. His film A Fistful of Dollars was based upon Akira Kurosawas Edo-era samurai adventure Yojimbo, Leones film elicited a legal challenge from the Japanese director, though Kurosawas film was in turn probably based on the 1929 Dashiell Hammett novel, Red Harvest. A Fistful of Dollars is also notable for establishing Clint Eastwood as a star, until that time Eastwood had been an American television actor with few credited film roles. The look of A Fistful of Dollars was established by its Spanish locations, the film paid tribute to traditional American western films, but significantly departed from them in storyline, plot, characterization and mood. The characters were also morally ambiguous by appearing generously compassionate, or nakedly and brutally self-serving, relationships revolved around power and retributions were emotion-driven rather than conscience-driven. According to Christopher Fraylings book Something to do with Death, Leone knew a deal about the American Old West. It fascinated him as a child, which carried into his adulthood, the films featured innovative music scores by Ennio Morricone, who worked closely with Leone in devising the themes. Leone had a way of shooting scenes with Morricones music ongoing. In addition, Clint Eastwood stayed with the series, joined later by Eli Wallach, Lee van Cleef. Based on the success of The Man with No Name trilogy, the film was shot mostly in Almería, Spain and Cinecittà in Rome. It was also shot in Monument Valley, Utah. The film starred Charles Bronson, Henry Fonda, Jason Robards, Once Upon a Time in the West emerged as a long, violent, dreamlike meditation upon the mythology of the American Old West, with many stylistic references to iconic western films
29.
Ennio Morricone
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Ennio Morricone, Grand Officer OMRI is an Italian composer, orchestrator, conductor, and former trumpet player. He composes a wide range of styles, making him one of the most versatile, experimental and influential composers of all time. Since 1946 Morricone has composed over 500 scores for cinema and television, after playing the trumpet in jazz bands in the 1940s, he became a studio arranger for RCA Victor and in 1955 started ghost writing for film and theatre. Throughout his career, he has composed music for such as Paul Anka, Mina, Milva, Zucchero. From 1960 to 1975, Morricone gained international fame for composing music for westerns and his score to 1966s The Good, the Bad and the Ugly is considered one of the most influential soundtracks in history and was inducted into the Grammy Hall of Fame. With an estimated 10 million copies sold, Once Upon a Time in the West is one of the best-selling scores worldwide and he also scored seven westerns for Sergio Corbucci, Duccio Tessaris Ringo duology and Sergio Sollimas The Big Gundown and Face to Face. Morricone worked extensively for other genres with directors such as Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Roman Polanski. His acclaimed soundtrack for The Mission was certified gold in the United States, the album Yo-Yo Ma Plays Ennio Morricone stayed 105 weeks on the Billboard Top Classical Albums. Morricones best-known compositions include The Ecstasy of Gold, Se Telefonando, Man with a Harmonica, Heres to You and he functioned during the period 1966–1980 as a main member of Il Gruppo, one of the first experimental composers collectives. In 1969, he co-founded Forum Music Village, a recording studio. In 1977, he composed the theme for the 1978 FIFA World Cup. He continued to compose music for European productions, such as Marco Polo, La Piovra, Nostromo, Fateless, Karol and En mai, fais ce quil te plait. Morricones music has been reused in television series, including The Simpsons and The Sopranos, as of 2013, Ennio Morricone has sold over 70 million records worldwide. In 1971, he received a Targa dOro for the sales of 22 million. In 2007, he received the Academy Honorary Award for his magnificent and he has been nominated for a further six Oscars. In 2016, Morricone received his first Academy Award for his score to Quentin Tarantinos film The Hateful Eight, Morricone was born in Rome, the son of Libera Ridolfi and Mario Morricone, a musician. His family came from Arpino, near Frosinone, Morricone, who had four siblings, Adriana, Aldo, Maria and Franca, lived in Trastevere, in the centre of Rome, with his parents. Mario was a player who worked professionally in different light-music orchestras
30.
The Good, the Bad and the Ugly
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The Good, the Bad and the Ugly is a 1966 Italian epic Spaghetti Western film directed by Sergio Leone, starring Clint Eastwood, Lee Van Cleef, and Eli Wallach in the title roles respectively. The screenplay was written by Age & Scarpelli, Luciano Vincenzoni, director of photography Tonino Delli Colli was responsible for the films sweeping widescreen cinematography and Ennio Morricone composed the films score, including its main theme. It was a co-production between companies in Italy, Spain, West Germany, and the United States, the film is known for Leones use of long shots and close-up cinematography, as well as his distinctive use of violence, tension, and stylistic gunfights. The film was the collaboration between Leone and Clint Eastwood, and the second with Lee Van Cleef. The Good, the Bad and the Ugly was marketed as the third and final installment in the Dollars Trilogy, following A Fistful of Dollars, the film was a financial success, grossing over $25 million at the box office, and is credited with catapulting Eastwood into stardom. Due to general disapproval of the Spaghetti Western genre at the time, critical reception of the film following its release was mixed, but it gained critical acclaim in later years. The Good, the Bad and the Ugly is now seen as an influential example of the Western film genre. Stevens offers Angel Eyes $1,000 to kill Baker, Angel Eyess employer, Angel Eyes accepts the contract, and kills Stevens as he leaves. Angel Eyes returns to Baker for his fee, then shoots Baker, meanwhile, Mexican bandit Tuco Ramírez is rescued from three bounty hunters by Blondie, who delivers him to the local sheriff to collect his $2,000 bounty. As Tuco is about to be hanged, Blondie severs Tucos noose by shooting it, the two escape on horseback and split the bounty in a lucrative money-making scheme. They repeat the process in another town for more reward money, Blondie grows weary of Tucos complaints, and abandons him penniless in the desert. A vengeful Tuco tracks Blondie to a town being abandoned by Confederate troops, as he prepares to have Blondie hang himself, Union forces shell the town, allowing Blondie to escape. Following an arduous search, Tuco recaptures Blondie and force-marches him across a desert until Blondie collapses from dehydration, as Tuco prepares to shoot him, he sees a runaway carriage. Inside is a delirious Bill Carson, who promises Tuco $200,000 in Confederate gold, Tuco demands to know the name on the grave, but Carson collapses from thirst before answering. When Tuco returns with water, Carson has died and Blondie, slumped next to him, reveals that Carson recovered, Tuco, who now has strong motivation to keep Blondie alive, gives him water and takes him to a nearby frontier mission to recover. After Blondies recovery, the two leave in Confederate uniforms from Carsons carriage, only to be captured by Union soldiers, at roll call, Tuco answers for Bill Carson, getting the attention of Angel Eyes, now a disguised Union sergeant at the camp. Angel Eyes tortures Tuco, who reveals the name of the cemetery, realizing that Blondie will not yield to torture, Angel Eyes offers him an equal share of the gold and a partnership. Blondie agrees and rides out with Angel Eyes and his gang, Tuco is packed on a train to be executed, but escapes
31.
Once Upon a Time in the West
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Once Upon a Time in the West is a 1968 epic Spaghetti Western film directed by Sergio Leone. It stars Henry Fonda, cast against type, as the villain, Charles Bronson as his nemesis, Claudia Cardinale as a newly widowed homesteader, the screenplay was written by Sergio Donati and Leone, from a story by Dario Argento, Bernardo Bertolucci and Leone. The widescreen cinematography was by Tonino Delli Colli, and the film score was by Ennio Morricone. After directing The Good, the Bad and the Ugly, Leone decided to retire from Westerns and desired to produce his film based on The Hoods, which eventually became Once Upon a Time in America. However, Leone accepted an offer from Paramount Pictures to provide access to Henry Fonda and he recruited Bertolucci and Argento to devise the plot of the film in 1966, researching other Western films in the process. After Clint Eastwood turned down an offer to play the movies protagonist, during production, Leone recruited Donati to rewrite the script due to concerns over time limitations. The original version by the director was 166 minutes when it was first released on December 21,1968 and this was the version that was to be shown in European cinemas and was a box office success. For the US release on May 28,1969, Once Upon a Time in the West was edited down to 145 minutes by Paramount and was a financial flop. The film is considered by some to be the first installment in Leones Once Upon a Time Trilogy, followed by Duck, the Revolution in parts of Europe, and Once Upon a Time in America, though the films do not share any characters in common. The film is now acknowledged as a masterpiece and one of the greatest films ever made. In 2009, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant”, a struggle exists for Sweetwater, a piece of land near Flagstone containing the regions only water source. The land was bought by Brett McBain, who foresaw that the railroad would have to pass through that area to water for the steam locomotives. It appears the land has no owner, however, a prostitute arrives from New Orleans, revealing she is Jill McBain, Bretts new wife. Meanwhile, a mysterious harmonica-playing gunman, whom Cheyenne later dubs Harmonica, in the films opening scene, Harmonica kills three men sent by Frank to kill him. In a roadhouse on the way to Sweetwater, he informs Cheyenne that the three appeared to be posing as Cheyennes men. Back at Sweetwater, construction materials are delivered to build a railroad station, Harmonica explains that Jill will lose Sweetwater unless the station is built by the time the tracks construction crews reach that point, so Cheyenne puts his men to work building it. Frank turns against Morton, who wanted to make a deal with Jill, after raping Jill, Frank forces her to sell the property in an auction. Harmonica rebuffs an offer by Frank to buy the farm from him for one more than he paid at the auction
32.
Once Upon a Time in America
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Once Upon a Time in America is a 1984 Italian-American epic crime drama film co-written and directed by Italian filmmaker Sergio Leone and starring Robert De Niro and James Woods. Based on Harry Greys novel The Hoods, it chronicles the lives of Jewish ghetto youths who rise to prominence in New York Citys world of organized crime. The film explores themes of friendships, love, lust, greed, betrayal, loss, broken relationships. It was the film of Leones career and the first feature film he had directed in 13 years. The cinematography was by Tonino Delli Colli, and the score by Ennio Morricone. Leone originally envisaged two three-hour films, then a single 269-minute version, but was convinced by distributors to shorten it to 229 minutes, the American distributors, The Ladd Company, further shortened it to 139 minutes, and rearranged the scenes into chronological order, without Leones involvement. The shortened version was a critical and commercial flop in the United States, the original European cut has remained a critical favorite and frequently appears in lists of the greatest gangster films of all time. The film is presented in order, from 1920 to 1968. The specific scenes and their order vary from version to version, the following description is that of the films full European cut. The film begins in medias res with gangsters entering an Indonesian puppet theater, the proprietors slip into a hidden opium den and warn a man named Noodles, but he pays no attention. In a flashback, he watches the police remove three disfigured corpses from a street and he successfully kills one of the three thugs that are after him but learns that the thugs have murdered his girlfriend while looking for him and finds that someone else has stolen his money. David Noodles Aaronson struggles as a kid in the Jewish ghetto on the Lower East Side of Manhattan in 1920. He and his friends Patrick Patsy Goldberg, Phillip Cockeye Stein, planning to rob a drunk at the moment a passing truck hides them from a policeman, theyre foiled by the older Max Bercovicz, who jumps off of the truck to rob the man himself. Noodles confronts Max but a crooked policeman steals the watch they were fighting over, the boys establish a suitcase money fund, which they hide in a locker at the railway station, giving the key to Fat Moe, a reliable friend whos not part of the operation. Noodles is in love with Fat Moes sister Deborah, who aspires to be a dancer, one day, Bugsy ambushes the boys and shoots little Dominic, who dies in Noodles arms, who then stabs Bugsy to death and injures a police officer who tried to intervene. Noodles is arrested, and sentenced to 12 years in prison, an adult Noodles is released from jail in 1932 and is reacquainted with his old gang, Max, Patsy, and Cockeye, who are now major players in the bootlegging industry during Prohibition. Noodles reunites with Deborah and tries to rekindle their relationship, meanwhile, during a robbery, the gang meets Carol who soon becomes Maxs girlfriend. The gang prospers from bootlegging under Prohibition, and providing muscle for union boss Jimmy Conway ODonnell, Noodles tries to impress Deborah on an extravagant date, and rapes her on their way home in a limousine, after which he becomes remorseful
33.
Steven Spielberg
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Steven Allan Spielberg, KBE, OMRI is an American director, producer, and screenwriter. He is considered one of the pioneers of the New Hollywood era. He is also one of the co-founders of DreamWorks Studios, in a career spanning more than four decades, Spielbergs films have spanned many themes and genres. His other films include Jurassic Park, A. I, artificial Intelligence, and War of the Worlds. Spielberg won the Academy Award for Best Director for Schindlers List and Saving Private Ryan, three of Spielbergs films—Jaws, E. T. the Extra-Terrestrial, and Jurassic Park—achieved box office records, originated and came to epitomize the blockbuster film. The unadjusted gross of all Spielberg-directed films exceeds $9 billion worldwide and his personal net worth is estimated to be more than $3 billion. Spielberg was born in Cincinnati, Ohio, to an Orthodox Jewish family and his mother, Leah Posner, was a restaurateur and concert pianist, and his father, Arnold Spielberg, was an electrical engineer involved in the development of computers. His paternal grandparents were immigrants from Ukraine who settled in Cincinnati in the first decade of the 1900s, in 1950, his family moved to Haddon Township, New Jersey when his father took a job with RCA. Three years later, the moved to Phoenix, Arizona. Spielberg attended Hebrew school from 1953 to 1957, in classes taught by Rabbi Albert L. Lewis, as a child, Spielberg faced difficulty reconciling being an Orthodox Jew with the perception of him by other children he played with. It isnt something I enjoy admitting, he said, but when I was seven, eight, nine years old, God forgive me. I was embarrassed by the perception of my parents Jewish practices. I was never really ashamed to be Jewish, but I was uneasy at times, Spielberg also said he suffered from acts of anti-Semitic prejudice and bullying, In high school, I got smacked and kicked around. His first home movie was of a wreck involving his toy Lionel trains. Throughout his early teens, and after entering school, Spielberg continued to make amateur 8 mm adventure films. In 1958, he became a Boy Scout and fulfilled a requirement for the merit badge by making a nine-minute 8 mm film entitled The Last Gunfight. Years later, Spielberg recalled to an interviewer, My dads still-camera was broken. He said yes, and I got an idea to do a Western, I made it and got my merit badge
34.
E.T. the Extra-Terrestrial
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E. T. the Extra-Terrestrial is a 1982 American science fiction fantasy film co-produced and directed by Steven Spielberg, and written by Melissa Mathison. It features special effects by Carlo Rambaldi and Dennis Muren, and stars Henry Thomas, Dee Wallace, Robert MacNaughton, Drew Barrymore, Peter Coyote and Pat Welsh. It tells the story of Elliott, a boy who befriends an extraterrestrial. He and his siblings help it return home while attempting to keep it hidden from their mother, the concept was based on an imaginary friend Spielberg created after his parents divorce in 1960. In 1980, Spielberg met Mathison and developed a new story from the stalled sci-fi horror film project Night Skies and it was shot from September to December 1981 in California on a budget of US$10.5 million. Unlike most films, it was shot in chronological order. Released on June 11,1982 by Universal Pictures, E and it is the highest-grossing film of the 1980s. In 1994, it was selected for preservation in the United States National Film Registry as being culturally, historically and it was re-released in 1985, and then again in 2002 to celebrate its 20th anniversary, with altered shots and additional scenes. In a Californian forest, a group of alien botanists land in a spacecraft, when government agents appear on the scene, they flee in their spaceship, leaving one of their own behind in their haste. At a suburban home, a boy named Elliott is spending time with his brother, Michael. As he returns from picking up a pizza, he discovers that something is hiding in their tool shed, the creature promptly flees upon being discovered. Despite his familys disbelief, Elliott leaves Reeses Pieces candy to lure the creature to his bedroom, before he goes to sleep, he realizes it is imitating his movements. He feigns illness the next morning to stay home from school, later that day, Michael and their five-year-old sister, Gertie, meet it. They decide to keep it hidden from their mother, Mary, when they ask it about its origin, it levitates several balls to represent its solar system and then demonstrates its powers by reviving a dead chrysanthemum. At school the day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication. As the alien watches John Wayne kiss Maureen OHara in The Quiet Man on TV, Elliott then kisses a girl he likes in the same manner and he is sent to the principals office. The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliotts urging and he reads a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device and is inspired to try it himself. E. T. receives Elliotts help in building a device to phone home by using a Speak & Spell toy, Michael notices that E. T. s health is declining and that Elliott is referring to himself as we
35.
John Williams
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John Towner Williams is an American composer, conductor, and pianist. T. The Extra-Terrestrial, the Indiana Jones series, Jurassic Park, Schindlers List, Williams has been associated with director Steven Spielberg since 1974, composing music for all but two of his feature films. Williams has won five Academy Awards, four Golden Globe Awards, seven British Academy Film Awards, with 50 Academy Award nominations, Williams is the second most-nominated individual, after Walt Disney. In 2005, the American Film Institute selected Williams score to 1977s Star Wars as the greatest American film score of all time. The soundtrack to Star Wars was additionally preserved by the Library of Congress into the National Recording Registry, for being culturally, historically, or aesthetically significant. Williams was inducted into the Hollywood Bowls Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004, Williams composed the score for eight movies in the Top 20 highest-grossing films at the U. S. box office. John Towner Williams was born on February 8,1932 in Floral Park, New York, the son of Esther and Johnny Williams, Williams has said of his lineage, My father was a Maine man—we were very close. My fathers parents ran a department store in Bangor, Maine, people with those roots are not inclined to be lazy. In 1948, the Williams family moved to Los Angeles where John attended North Hollywood High School graduating in 1950 and he later attended the University of California, Los Angeles, and studied privately with the Italian composer Mario Castelnuovo-Tedesco. Williams had originally briefly attended Los Angeles City College for one semester as the school had a Studio Jazz Band. In 1952, Williams was drafted into the U. S. Air Force, in 1955, following his Air Force service, Williams moved to New York City and entered The Juilliard School where he studied piano with Rosina Lhévinne. During this time Williams worked as a jazz pianist in the many jazz clubs. After moving to Los Angeles he began working as a session musician, Williams has two brothers, Donald and Jerry, both of whom work as percussionists in Los Angeles. After his studies at Juilliard, and the Eastman School of Music, Williams returned to Los Angeles, among other composers, Williams worked with Franz Waxman, Bernard Herrmann, and Alfred Newman, and also with his fellow orchestrators Conrad Salinger and Bob Franklyn. Williams was also a studio pianist, performing on film scores by composers such as Jerry Goldsmith, Elmer Bernstein, Williams recorded with Henry Mancini the film scores of 1959s Peter Gunn, 1962s Days of Wine and Roses, and 1963s Charade. Williamss first film composition was for the 1958 B movie Daddy-O and he soon gained notice in Hollywood for his versatility in composing jazz, piano, and symphonic music. Williams received his first Academy Award nomination for his score for 1967s Valley of the Dolls. Williams broke through to win his first Academy Award for his score in the 1971 film Fiddler on the Roof
36.
Script (recorded media)
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A screenplay or script is a written work by screenwriters for a film, video game, or television program. These screenplays can be original works or adaptations from existing pieces of writing, in them, the movement, actions, expression, and dialogues of the characters are also narrated. A screenplay written for television is also known as a teleplay, the format is structured in a way that one page usually equates to one minute of screen time. In a shooting script, each scene is numbered, and technical direction may be given, in a spec or a draft in various stages of development, the scenes are not numbered, and technical direction is at a minimum. The standard font for a screenplay is 12 point,10 pitch Courier Typeface, the major components are action and dialogue. The action is written in the present tense, the dialogue are the lines the characters speak. Unique to the screenplay is the use of slug lines, a slug line, also called a master scene heading, occurs at the start of every scene, and is usually made up of three parts. Part one states whether the scene is set inside outside, or both, Part two states location of the scene. Part three, separated from Part two by a hyphen, refers to the time of the scene, each slug line begins a new scene. In a shooting script, the lines are numbered consecutively. These scene numbers serve as mile-post markers in a script and this allows any part of the script to be referred to by scene number. In the United States letter size paper and Courier 12 point are mandatory, the tab settings of the scene elements, which constitute the screenplays layout. The dialogue must be centered and the names must be capitalized, a script usually begins with FADE IN, followed by the first scene description. It might get more specific, e. g. FADE IN ON AN ECU of Ricky as he explains the divorce to Bob, a script will usually end with FADE TO BLACK, though there are variables, like CUT TO BLACK for abrupt endings. The style consists of a grammar that is specific to screenplays and this grammar also consists of two aspects, A prose that is manifestation-oriented, i. e. focuses largely on what is audible and what is visible on screen. This prose may only supply interpretations and explanation if clarity would otherwise be adversely affected, American screenplays are printed single-sided on three-hole-punched paper using the standard American letter size. They are then together with two brass brads in the top and bottom hole. The middle hole is left empty as it would make it harder to quickly read the script
37.
Storyboards
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Many large budget silent films were storyboarded, but most of this material has been lost during the reduction of the studio archives during the 1970s and 1980s. Special effects pioneer Georges Méliès is known to have been among the first filmmakers to use storyboards, however, storyboarding in the form widely known today was developed at the Walt Disney studio during the early 1930s. In the biography of her father, The Story of Walt Disney, the second studio to switch from story sketches to storyboards was Walter Lantz Productions in early 1935, by 1936 Harman-Ising and Leon Schlesinger Productions also followed suit. By 1937 or 1938, all American animation studios were using storyboards, gone with the Wind was one of the first live action films to be completely storyboarded. William Cameron Menzies, the production designer, was hired by producer David O. Selznick to design every shot of the film. Storyboarding became popular in film production during the early 1940s. Storyboards are now a part of the creative process. A film storyboard is essentially a series of frames, with drawings of the sequence of events in a film and it helps film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Besides this, storyboards also help estimate the cost of the overall production, often storyboards include arrows or instructions that indicate movement. In creating a picture with any degree of fidelity to a script. And in the case of media, it is the layout. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be described either in picture or in additional text. A common misconception is that storyboards are not used in theatre, directors and playwrights frequently use storyboards as special tools to understand the layout of the scene. The great Russian theatre practitioner Stanislavski developed storyboards in his production plans for his Moscow Art Theatre performances. The German director and dramatist Bertolt Brecht developed detailed storyboards as part of his method of fabels. This allows the animators and directors to work out any screenplay, camera positioning, shot list, the storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the stage can avoid animation of scenes that would be edited out of the film. Often storyboards are animated with simple zooms and pans to simulate camera movement and these animations can be combined with available animatics, sound effects, and dialog to create a presentation of how a film could be shot and cut together
38.
Hans Zimmer
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Hans Florian Zimmer is a German composer and record producer. Since the 1980s, he has composed music for over 150 films, Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the music division at DreamWorks studios and works with other composers through the company that he founded, Remote Control Productions. His studio in Santa Monica, California has a range of computer equipment and keyboards. Zimmers works are notable for integrating electronic music sounds with traditional orchestral arrangements and he has received four Grammy Awards, three Classical BRIT Awards, two Golden Globes, and an Academy Award. He was also named on the list of Top 100 Living Geniuses, Zimmer was born in Frankfurt am Main, Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home but had piano lessons only briefly as he disliked the discipline of formal lessons and he moved to London as a teenager, where he attended Hurtwood House school. In an interview with Mashable in February 2013, he said of his parents My mother was very musical, basically a musician and my father was an engineer and an inventor. In an interview with the German television station ZDF in 2006, he commented, My father died when I was just a child, and I escaped somehow into the music and music has been my best friend. In a speech at the 1999 Berlin Film Festival, Zimmer stated that he is Jewish, Zimmer began his career playing keyboards and synthesizers in the 1970s, with the band Krakatoa. He worked with the Buggles, a new band formed in London in 1977 with Trevor Horn, Geoff Downes. Zimmer can be seen briefly in the Buggles music video for the 1979 song Video Killed the Radio Star, after working with the Buggles, he started to work for the Italian group Krisma, a new wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma’s third album, Cathode Mamma and he has also worked with the band Helden. Both Zimmer and Cann, were invited to be part of the Spanish group Mecano for a performance in Segovia in 1984. Two songs from this concert were included in the Mecano, En Concierto album released in 1985 only in Spain, in 1985, he contributed to the Shriekback album Oil & Gold. While living in London, Zimmer wrote advertising jingles for Air-Edel Associates, in the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio, together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments. Some of the films on which Zimmer and Myers worked are Moonlighting, Success is the Best Revenge, Insignificance, Zimmers first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs
39.
Christopher Nolan
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Christopher Edward Nolan is an English-American film director, screenwriter, producer, cinematographer and editor. He is one of the directors in history, and among the most successful. The acclaim garnered by his independent films gave Nolan the opportunity to make the thriller film Insomnia. His nine films have grossed over US$4.2 billion worldwide and garnered a total of 26 Oscar nominations, Nolan has co-written several of his films with his younger brother, Jonathan, and runs the production company Syncopy Inc. with his wife, Emma Thomas. Nolans films are rooted in philosophical, sociological and ethical concepts, exploring human morality, the construction of time, and his English father, Brendan James Nolan, was an advertising executive, and his American mother, Christina, worked as a flight attendant and an English teacher. His childhood was split between London and Evanston, Illinois, and he has both British and American citizenship and he has an older brother, Matthew Francis Nolan, a convicted criminal, and a younger brother, Jonathan. He began making films at age seven, borrowing his fathers Super 8 camera, growing up, Nolan was particularly influenced by Star Wars, and around the age of eight he made a stop motion animation homage called Space Wars. His uncle who worked at NASA, building systems for the Apollo rockets. I re-filmed them off the screen and cut them in, thinking no-one would notice, from the age of 11, he aspired to be a professional filmmaker. When Nolans family relocated to Chicago during his years, he started making films with Adrien. He has continued his collaboration with the brothers, receiving a credit for his assistance on their Oscar-nominated documentary Genghis Blues. Nolan also worked alongside Roko on documenting a safari across four African countries, Nolan was educated at Haileybury and Imperial Service College, an independent school in Hertford Heath, Hertfordshire, and later read English literature at University College London. He chose UCL specifically for its facilities, which comprised a Steenbeck editing suite and 16 mm film cameras. Nolan was president of the Unions Film Society, and with Emma Thomas he screened 35 mm feature films during the school year, during his college years, Nolan made two short films. The first was the surreal 8 mm Tarantella, which was shown on Image Union, the second was Larceny, filmed over a weekend in black and white with a limited cast, crew, and equipment. Funded by Nolan and shot with the equipment, it appeared at the Cambridge Film Festival in 1996 and is considered one of UCLs best shorts. After graduation, Nolan worked as a reader, camera operator. He also made a short, Doodlebug, about a man chasing an insect around a flat with a shoe
40.
Inception
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Inception is a 2010 science fiction film written, co-produced, and directed by Christopher Nolan, and co-produced by Emma Thomas. The ensemble cast additionally includes Ellen Page, Joseph Gordon-Levitt, Marion Cotillard, Ken Watanabe, Tom Hardy, Dileep Rao, Cillian Murphy, Tom Berenger, after the 2002 completion of Insomnia, Nolan presented to Warner Bros. A written 80-page treatment about a horror film envisioning dream stealers based on lucid dreaming, the treatment was revised over 6 months and was purchased by Warner in February 2009. Inception was filmed in six countries, beginning in Tokyo on June 19 and its official budget was US$160 million, split between Warner Bros and Legendary. Nolans reputation and success with The Dark Knight helped secure the films $100 million in advertising expenditure, Inceptions première was held in London on July 8,2010, its wide release to both conventional and IMAX theaters began on July 16,2010. A box office success, Inception grossed over $800 million worldwide, the home video market also had strong results, with $68 million in DVD and Blu-ray sales. Inception opened to acclaim from critics, who praised its story, score and their latest target, Japanese businessman Saito, reveals that he arranged their mission himself to test Cobb for a seemingly-impossible job, planting an idea in a persons subconscious, or inception. To break up the energy conglomerate of ailing competitor Maurice Fischer, Saito wants Cobb to convince Fischers son and heir, Robert, in return, Saito promises to use his influence to clear Cobb of a murder charge, allowing Cobb to return home to his children. While dream-sharing with Cobb, Ariadne learns his subconscious houses an invasive projection of his late wife Mal, the first level is Yusufs dream of a rainy Los Angeles. The team abducts Fischer, but they are attacked by armed projections from Fischers subconscious, despite these setbacks, the team continues with the mission. Eames impersonates Fischers godfather, Peter Browning, to suggest Fischer reconsider his fathers will, Yusuf drives the van as the other dreamers are sedated into the second level. In the second level, a hotel dreamed by Arthur, Cobb convinces Fischer that he has been kidnapped by Browning, Cobb persuades him to go down another level to explore Brownings subconscious. The third level is a hospital on a snowy mountain dreamed by Eames. The team has to infiltrate it and hold off the guards as Cobb takes Fischer into the equivalent of his subconscious, Yusuf, under pursuit by Fischers projections in the first level, deliberately drives off a bridge and initiates his kick too soon. This removes the gravity of Arthurs level, forcing him to improvise a new kick that will synchronize with the van hitting the water, Mals projection emerges and kills Fischer, Cobb kills Mal, and Saito succumbs to his wounds, all three fall into Limbo. While Eames sets up a kick by rigging the hospital with explosives, Cobb and Ariadne enter Limbo to rescue Fischer, Cobb reveals to Ariadne that he and Mal went to Limbo while experimenting with the dream-sharing technology. Sedated for a few hours of time, they spent fifty years in dream time constructing a world from their shared memories. When Mal refused to return to reality, Cobb used a form of inception by reactivating her totem
