Selznick’s collaboration with composers Miklós Rózsa, Max Steiner, Dimitri Tiomkin, and Franz Waxman forms the centerpiece of this study, with select scores receiving special emphasis. Rather than depicting Selznick as a producer-auteur who merely imposed his ideas on composers, this dissertation views the scores from his films as sites of artistic contestation in which musical decisions made before, during, and after composition alternately reflect instances of negotiation and resistance. Close study reveals that interpretive arguments concerning these films are best grounded in a thorough knowledge of the film scores’ collaborative construction. Drawing from extensive archival research, I examine the producer’s memos, composers’ scores, and various correspondences to trace streams of influence that shaped the musical rhetoric of Selznick’s most significant films. Selznick, a producer whose close attention to music distinguished him from Hollywood competitors. ![]() This dissertation investigates the collaborative process of film scoring as practiced in the films of David O.
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