heinee14212 (film, music, literature) 13

heinee14212 (film, music, literature) 13 - until...

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category of the leitmotive, are used exclusively when characters are depicted on- screen, and not in a referential reminiscent way. These themes are also a recurring technique in the films scored by Shostakovich. This dissertation covers the subject in two main stages, historical surveys and close readings. The first chapter briefly outlines the history of Russian and Soviet film. The main concepts that drove filmmakers during the rule of each Soviet leader are discussed, as well as how and when various objectives in the Soviet industry changed and why. This chapter also brings attention to significant Soviet films, such as the three in this dissertation. Chapter Two provides a similar background narrative for the topic of Shakespeare in film. The history in this chapter begins with silent film, and continues
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Unformatted text preview: until approximately 1980. The major directors discussed in this chapter are Laurence Olivier, Orson Welles, Akira Kurosawa, and Grigori Kozintsev – each has their own interpretation of Shakespeare, and how each applies to his representative culture. The chapter also investigates how various eras interpreted society, and how that is manifested in the Shakespeare films of those eras. The first part of the dissertation concludes with a survey of Shostakovich’s experiences with film, and how the style of his film music is a mirror of his concert music of the time. During the time period just after the death of Stalin, Shostakovich’s music tended to be diatonic and straightforward, only using chromaticism decoratively, and his music for The Gadfly fits this model. However, 4...
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