Douglas W Gallez
Biographic Data
| ID | 4907998 |
|---|---|
| NAME | Douglas W Gallez |
| GIVEN NAMES | Douglas W |
| FAMILY NAME | Gallez |
| SIGNATURE | GALLEZ D W |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 10 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 1978 |
| H-INDEX | 1 |
The Prokofiev-Eisenstein Collaboration
Recognition of a film director or producer for the composer's contribution to film art is rare, and its eptome is Eisenstein's characteristically effusive tribute to his friend Prokofiev.2 It made public the filmmaker's professional respect for Prokofiev which we find evidenced in their private correspondence and reciprocated by the composer.3 Alexander Nevsky and Ivan the Terrible are the salient examples of collaboration between these great art…
"Satie's "Entr'acte
No consideration of film music can afford to overlook the unique contribution of that eccentric genius of the twenties, Erik Satie. Simple, flowing, sometimes ingratiating, his music lends itself well to film, particularly to collage films in experimental cinema.2 Never has the cinematic affinity of Satie's music been better demonstrated than in the score he wrote to accompany Rene Clair's film interlude for Francis Picabia's Dadaist ballet, Reld…
The American Newsreel, 1911-1967
Facing the Music in Scripts
Students will be quick to recognize the hypocritical Establishment values that this film calls into question. The school in If . . . quite obviously does not fulfill its proper function-to teach rational processes. Consequently, at the end the Headmaster is unable to reason with the rebels: they have not been conditioned by their experience to reason. If . . . vividly documents the view of man as an animal. College House may supposedly be a ratio…
Theories of Film Music
(1) imitation, in which score imitates natural sounds or the tonal use of speech (2) commentary, in which score takes the part of a spectator commenting on the visual film, usually ironically (3) evocation, in which synchronized score is given its fullest positive value. Silence as well as sound is deliberate. Leitmotifs act as emotives and assist the visual towards insight into the characters they are attached to (4) contrast, in which score con…
Theories of Film Music
(1) imitation, in which score imitates natural sounds or the tonal use of speech (2) commentary, in which score takes the part of a spectator commenting on the visual film, usually ironically (3) evocation, in which synchronized score is given its fullest positive value. Silence as well as sound is deliberate. Leitmotifs act as emotives and assist the visual towards insight into the characters they are attached to (4) contrast, in which score con…
Facing the Music in Scripts
Students will be quick to recognize the hypocritical Establishment values that this film calls into question. The school in If . . . quite obviously does not fulfill its proper function-to teach rational processes. Consequently, at the end the Headmaster is unable to reason with the rebels: they have not been conditioned by their experience to reason. If . . . vividly documents the view of man as an animal. College House may supposedly be a ratio…
The American Newsreel, 1911-1967
"Satie's "Entr'acte
No consideration of film music can afford to overlook the unique contribution of that eccentric genius of the twenties, Erik Satie. Simple, flowing, sometimes ingratiating, his music lends itself well to film, particularly to collage films in experimental cinema.2 Never has the cinematic affinity of Satie's music been better demonstrated than in the score he wrote to accompany Rene Clair's film interlude for Francis Picabia's Dadaist ballet, Reld…
The Prokofiev-Eisenstein Collaboration
Recognition of a film director or producer for the composer's contribution to film art is rare, and its eptome is Eisenstein's characteristically effusive tribute to his friend Prokofiev.2 It made public the filmmaker's professional respect for Prokofiev which we find evidenced in their private correspondence and reciprocated by the composer.3 Alexander Nevsky and Ivan the Terrible are the salient examples of collaboration between these great art…
Art (5 works) · Humanities (4 works) · Musicology and Musical Analysis (3 works) · Visual arts (3 works) · Cinema and Media Studies (2 works) · Music Technology and Sound Studies (2 works) · Advertising (1 work) · Art history (1 work) · Ballet (1 work) · Business (1 work)