Composing for the Red Screen: Prokofiev and Soviet Film (Oxford Music / Media)

Bartig, Kevin

Published by Oxford University Press
ISBN 10: 0190213280 / ISBN 13: 9780190213282
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Synopsis: Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career.

Author Kevin Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility.

About the Author:
Kevin Bartig is Assistant Professor of Musicology at Michigan State University.

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Title: Composing for the Red Screen: Prokofiev and ...
Publisher: Oxford University Press
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Book Condition: New

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Book Description Oxford University Press Inc, United States, 2014. Paperback. Book Condition: New. Reprint. 231 x 229 mm. Language: English . Brand New Book. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev s film music derived from a self-imposed challenge: to compose serious music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues ideologically expedient film songs.Looking at Prokofiev s film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility. Bookseller Inventory # AAZ9780190213282

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Book Description Oxford University Press Inc. Paperback. Book Condition: new. BRAND NEW, Composing for the Red Screen: Prokofiev and Soviet Film, Kevin Bartig, Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility. Bookseller Inventory # B9780190213282

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Book Description Oxford University Press Inc, United States, 2014. Paperback. Book Condition: New. Reprint. 231 x 229 mm. Language: English . Brand New Book. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev s film music derived from a self-imposed challenge: to compose serious music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues ideologically expedient film songs.Looking at Prokofiev s film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility. Bookseller Inventory # AAZ9780190213282

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Book Description Paperback. Book Condition: New. Not Signed; Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people hea. book. Bookseller Inventory # ria9780190213282_rkm

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Book Description Oxford University Press, 2014. Book Condition: New. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Series: Oxford Music/Media Series. Num Pages: 248 pages, 50 music examples and 26 photographs. BIC Classification: 1DVUA; APF; AVGC6; AVH. Category: (G) General (US: Trade). Dimension: 234 x 150 x 14. Weight in Grams: 366. . 2014. Reprint. Paperback. . . . . . Bookseller Inventory # V9780190213282

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Book Description Oxford University Press Inc, United States, 2014. Paperback. Book Condition: New. Reprint. 231 x 229 mm. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev s film music derived from a self-imposed challenge: to compose serious music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues ideologically expedient film songs.Looking at Prokofiev s film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility. Bookseller Inventory # BZE9780190213282

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