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Find in a library : Yellow future : oriental style in Hollywood cinema
See all condition definitions - opens in a new window or tab Read more about the condition. Here is a copy of Oriental Cinema magazine number 9. This issue is an uncirculated copy directly from the publisher! Only 23 issues were produced, several are already sold out. Check my other listings for available issues.
Hollywood goes Oriental : CaucAsian performance in American film /
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Oriental Style in Hollywood Cinema
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Help Centre. Track My Order. My Wishlist Sign In Join. Be the first to write a review. Add to Wishlist. Ships in 7 to 10 business days. Link Either by signing into your account or linking your membership details before your order is placed. Description Table of Contents Product Details Click on the cover image above to read some pages of this book! Contents Introduction 1. Style, Visibility, Future 2. An Oriental Past 3. American Anxiety and the Oriental City 4.
Oriental Buddies and the Disruption of Whiteness 5. Martial Arts as Oriental Style 6. Essential to the film's success was an audaciously scattershot jukebox soundtrack which perfectly embodied the film's anarchic charms. Listening to the CD is like watching the entire movie in your head, from Iggy Pop's frenetic 'Lust For Life' the opening high-street chase sequence , through the ironic melancholy of Lou Reed's 'Perfect Day' Renton's heroin overdose , to the blood-pumping climax of Underworld's chanting heartbeat 'Born Slippy' our anti-hero's gleeful escape.
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Gary Cooper is the retiring town marshal who discovers, just after he's married Quaker girl Grace Kelly, that a murderer he rode out of town 10 years before is coming back with his gang to kill him. He has an hour before the noon train arrives to prepare and suddenly no one wants to help him. Its melody is the basis for the whole of the landmark score by Dimitri Tiomkin, one of several by the great Ukrainian.
For a major Hollywood score to begin with just a singer, guitar, accordion and drums was unheard of, but the lack of strings in the later orchestration makes it even starker.
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When midday arrives and Cooper writes his will, the score hammers home the passing seconds in a raucous pulse of song fragments, ending with the train whistle's blast. It's heart-stopping stuff. Much of its long-lasting appeal is down to a pulsating score by Greek composer Vangelis, which provides an awe-inspiring backdrop to the enigmatic, eye-popping visuals.
Significantly, the score gave this famously impersonal film a real 'soul' - without Vangelis, would Rutger Hauer's android angst have had the same emotional clout? For years the original synthesiser soundtrack was officially unavailable, with a horrible orchestral version being rejected by fans in favour of a hard-to-find unofficial 'Offworld' edition. Since the early Nineties, however, a CD replete with outtake cues and dialogue fragments has become a must-have item for all serious soundtrack collectors.
The future never sounded so good. My overwhelming memory of seeing as an year-old was Gyorgy Ligeti's music. I'd never heard anything like it before. I would shut myself in wardrobes and play the music and drift off into these zones, listening to 'Lux Aeterna'. So when we came to record the score for Danny Boyle's new film, Sunshine, which is also set in space, we had some points of reference, namely esoteric German abstract soundscapes.
Initially we knocked up some pieces using some of our own records, before we quickly hit a brick wall in terms of the kind of sounds we could draw upon. The result, then, alludes to everything from Faust to ambient and, of course, Ligeti. And to interpret a score that's been in my blood for so long was fantastic. Karl Hyde. Approaching the end of their last summer together, a group of fresh-faced American kids cruise around in search of roller-skating teenage kicks.
If it wasn't for American Graffiti, we wouldn't have Philip Kaufman's wonderful The Wanderers, nor indeed the Mel's Diner franchise which Graffiti single-handedly revived. Would you like fries and a shake with that? A score that inspired a thousand imitations. The glassy vibraphones and repetitive riffs convey a sense of detachment perfect for the Kevin Spacey character in the film. Only the simplest of chord changes are used mostly from the tonic minor to the fourth of the scale or sometimes none at all.
A very characteristic 'soft' piano sound, muted strings, ambiguously ethnic percussion, plus all sorts of guitars and plucked string instruments, provide the tonal palette. It's beautifully produced and mixed, combining sampled ambient sounds with real instruments and achieving something quite new. And while its impact may have been diluted by subsequent lukewarm rip-offs, it remains strikingly original.
Few film-makers understand the marriage of sound and vision as well as David Lynch. His debut feature, Eraserhead, spawned a cult soundtrack album packed with industrial hissing and groaning, while Blue Velvet ensured that Bobby Vinton would never sound innocent again.
Best of all, however, is this heartbreakingly beautiful work from the director's most underrated movie in which Lynch's long-time composer Angelo Badalamenti proves that he is indeed 'the master of the suspended chord'. Covering the events leading up to the death of Laura Palmer, Fire Walk With Me ventures into genuinely horrifying territory, with a pervasive sense of dread whipped up by Badalamenti's moody score.
Jimmy Scott provides threatening vocals for the edgy 'Sycamore Trees', while Julee Cruise drowns in waves of ethereal ear candy on 'Questions in a World of Blue'.
And then, of course, there's the spine-tingling guitar twang of the TV series' title music which rears its head briefly amid a montage of off-kilter themes. Unlike so many soundtrack albums, the Fire Walk With Me album has real internal coherence, and stands up magnificently to repeated listening, provoking sorrow, elation, and genuine wonderment, time after time. The twanging sound has now become synonymous with a certain type of US cinema. Cooder's slide - a tribute to American bluesman 'Blind' Willie Johnson - is a signature for the wide open spaces Harry Dean Stanton encounters, both on his road trip and in his soul.
Cooder's silences, the gaps in between embarking on another slide up the fret board, are almost as important as the notes. Cooder and Wenders's other collaborations since include their hugely influential Buena Vista Social Club.
The 50 greatest film soundtracks
My allegiance to John Barry's Bond scores changes frequently. While You Only Live Twice will always have a place in my heart - it being largely responsible for me wanting to become involved in film and music - these days it seems less potent than On Her Majesty's Secret Service. Cunningly, Barry's OHMSS theme, in which a horn-led melody and Moog take unexpected twists and turns, articulates Bond's raison d'etre: kill or be killed.
Additional swirling strings remind us of the urgency of his task, refusing to let us off the hook for a minute. Accordingly, OHMSS has become an iconic piece of instrumental music, its enduring popularity ensuring it's still used on TV shows whenever driving dangerously is involved, or to imbue a presenter with heroic traits. Better still, in addition to the theme, there is the masterful ballad 'We Have All the Time in the World' sung by Louis Armstrong , which is used to underscore the burgeoning love affair between Bond and Tracy, the woman he marries and, subsequently, sees assassinated only hours after their wedding.
All this, along with the remainder of the score, results in 80 minutes of iconic brilliance and a bar set so high that every Bond score thereafter struggles to match its originality, elegance and power. Spoken word albums rarely stand up to repeated listening - but then so few of them are narrated by someone as engaging as Eric Thompson. He conjures a fabulously satirical feature-length netherworld in which Dougal and his chums go head-to-head with fiendish cobalt cat Buxton, who plans to paint the garden a darker shade of blue.
Their adventures lead them from the eerie glue factory on the hill to the surface of the Moon, which as Buxton points out is 'worse than Barnsley'.
As with all the best kids' stories, the tone is innocent, but also creepily psychedelic, with a hint of menace lurking in the shadows. French animator Serge Danot conjures much memorable onscreen malarkey, but nothing can match Thompson's extravagant aural invention which is reproduced in almost its entirety on the dazzling Music For Pleasure soundtrack album. The tunes are wonderful, too - especially 'Florence's Sad Song'. Composer Max Steiner was the synthesist of late Romantic styles who created the archetype for golden age Hollywood film music in such early sound films as King Kong and The Informer.
Schooled in Viennese operetta in his native Austria, he also worked on Broadway as a musical director during the formative years of American musical comedy and his range entirely suited Hollywood's conservative view of orchestral music. Reputedly bullied out of him by interfering producer David O Selznick, his lush score for Civil War romance Gone With the Wind hardly stops for breath and is heavily reliant on individual character themes or leitmotifs: what could be more lump-in-the-throat American than the binding 'Tara's Theme', or more arrogant than Rhett Butler's march?
Sometimes it's hard to tell if the score is a vivid unpinning of the melodrama, or the film a blazing illustration of the music. Nino Rota's score for Francis Ford Coppola's crime-family saga was hotly tipped to win the Oscar until it was realised that the composer had reworked themes from his Fortunella score from the Fifties. The nomination was promptly withdrawn, but Rota's music has since passed into history. Coppola's father, Carmine, also added to the musical mix, keeping things in the family with his mall wedding music. Although originally the music for a theatre production, West Side Story must go down as one of the great film scores, particularly as Leonard Bernstein re-wrote parts of it specifically for the screen adaptation.
Bernstein brings in furious Latin rhythms for the Mambo dance scene in the gym - seen as an extremely bold move by a classical composer at the time - while 'Cool' allows for finger clicking and big band sounds. Bernstein's enduring triumph, however, must be the 'Tonight Ensemble', which brings all these sounds and themes together as all the characters prepare for the big rumble.
The Citizen Kane of British pop movies, this grim fable about a squabbling pop group plucked from northern obscurity by money-minded London businessmen boasts a scorching soundtrack by Slade at the peak of their powers. Retro-fitting their trademark Seventies glam-stomp sound with Sixties-style honking horns, Jim Lea and Noddy Holder served up their most coherent long-player. The band's teenybop fans were shocked by the tough tone of the movie, which revealed some unpalatable truths about the myths of fame and fortune.
Three decades later, the Flame soundtrack always stands as proof that Slade were so much more than just another flash in the glam pan. Beyond all the grunts and moans syncopated to the key of desire, porn movies are not usually noted for their soundtracks. One porn classic, The Devil in Miss Jones, is a stark exception. It's one of only two films in the history of hardcore ever to spawn an original soundtrack album - the other being the most famous, Deep Throat. Both were directed by Gerard Damiano, for whom the importance of music involved more than just the metre of body parts locking in rhythm.
So I would often get a piece of music ahead of time and cut to it. The Devil In Miss Jones re-released on DVD last year by Raincoat Theater is not only one of the best performing porn flicks of all time but also one of the most dour; detailing the progressive mental deterioration of a virginal spinster, who has died by her own hand and is given one week to indulge her every sexual fantasy before she descends to the pits of hell.
More morality play than masturbation aid, Devil seemed so keen to confound that reviewers of the time invoked comparisons to Modigliani and Sartre to suggest its darkness of mood.