MARC record from Internet Archive

LEADER: 04251cam a22007334a 4500
001 ocn228744402
003 OCoLC
005 20191109073321.6
008 080522s2009 wiu b 001 0 eng
010 $a 2008022584
040 $aDLC$beng$cDLC$dYDX$dBTCTA$dYDXCP$dCDX$dBWX$dIUL$dIG#$dUKM$dHEBIS$dOCLCQ$dCLE$dILU$dBDX$dOCLCA$dOCLCQ$dOCLCO$dOCLCF$dOCLCQ$dUEJ$dOCLCO$dOCLCQ$dTKN$dOCLCA$dUKMGB$dOCLCO
015 $aGBA937538$2bnb
016 7 $a015110290$2Uk
019 $a1022704972
020 $a9780838641750$q(alk. paper)
020 $z9780838647150
020 $a083864175X$q(alk. paper)
020 $a9781611473889
020 $a1611473888
029 1 $aAU@$b000043093521
029 1 $aGEBAY$b11185631
029 1 $aHEBIS$b210285281
029 1 $aIG#$b9780838641750
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029 1 $aUKMGB$b015110290
035 $a(OCoLC)228744402$z(OCoLC)1022704972
042 $apcc
050 00 $aPN1998.3.F45$bV36 2009
082 00 $a791.4302/33092$222
049 $aMAIN
100 1 $aVan Order, M. Thomas,$d1961-
245 10 $aListening to Fellini :$bmusic and meaning in black and white /$cM. Thomas Van Order.
260 $aMadison [N.J.] :$bFairleigh Dickinson University Press,$c©2009.
300 $a275 pages ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aThe Fairleigh Dickinson University Press series in Italian studies
504 $aIncludes bibliographical references (pages 269-271) and index.
505 0 $aLo sceicco bianco : an early break with neorealism -- I vitelloni : music and social ritual -- La strada : music and redemption -- Fellini betrayed : the English-language sound track of La strada -- Il bidone : metacinema and the sound track -- Le notti di Cabiria : music and transcendence -- Brecht/Weill, Respighi, and the equivocal tone of La dolce vita -- 8 1/2 : music, self, and other.
520 1 $a"For decades scholarship on Federico Fellini has focused on the figure of the director himself, while formal analysis based on the craft of filmmaking has been largely ignored. Fellini spent countless hours in the studios of Cinecitta recording, mixing, and editing music, voices, and sound effects for his films, but his unique and often revolutionary uses of cinematic sound have never been systematically studied. This book reveals the singularly important role played by music in the construction of meaning in Fellini's black-and-white feature-length films, and presents a substantial re-reading of the seven films made during the most creative period of Fellini's artistic development."
520 8 $a"The editing of music in Fellini's first films represents an entirely new approach to cinematic sound. The sophistication and complexity of Fellini's soundtracks far surpasses the neorealist models that are often assumed to form the practical foundation of Fellini's earliest works, and an analysis of the editing of music in these films reveals extraordinary innovation in the pairing of music and visual image."--Jacket.
590 $bInternet Archive - 2
590 $bInternet Archive 2
600 10 $aFellini, Federico$xCriticism and interpretation.
600 17 $aFellini, Federico.$2fast$0(OCoLC)fst00035814
600 17 $aFellini, Federico.$2swd
600 14 $aFellini, Federico$xCriticism and interpretation.
650 0 $aMotion picture music$xHistory and criticism.
650 7 $aMotion picture music.$2fast$0(OCoLC)fst01027201
650 7 $aFilmmusik$2gnd
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
830 0 $aFairleigh Dickinson University Press series in Italian studies.
856 41 $3Table of contents$uhttp://catdir.loc.gov/catdir/toc/ecip0819/2008022584.html
938 $aBrodart$bBROD$n10282408$c$57.00
938 $aBaker and Taylor$bBTCP$nBK0008099013
938 $aCoutts Information Services$bCOUT$n8404390
938 $aIngram$bINGR$n9780838641750
938 $aYBP Library Services$bYANK$n7443476
938 $aYBP Library Services$bYANK$n2929573
938 $aBlackwell Book Service$bBBUS$nR8766464$c$57.00
994 $a92$bERR
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