Sarah Reichardt Ellis
Biographic Data
| ID | 6307053 |
|---|---|
| NAME | Sarah Reichardt Ellis |
| GIVEN NAMES | Sarah Reichardt |
| FAMILY NAME | Ellis |
| SIGNATURE | ELLIS S R |
| AFFILIATIONS | University of Oklahoma |
| ORCID | 0000-0001-7478-3448 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 0 |
Monsters, Meaning, and the Music of Chopin in American Horror Cinema of the 1930s and ’40s
Classic Hollywood horror films, even when produced at rival studios, demonstrate a surprising degree of consistency in their use of the music of Frédéric Chopin as a musical signifier. While as a general rule in these films conflicted selves are on display, Chopin’s music overflows one hermeneutic potential to embrace others necessary to each narrative. An investigation into how Chopin’s music functions in the diegesis of three films—Dracula’s Da…
Retheorising the End
Between the mid‐1930s and the 1960s Dmitri Shostakovich composed a large number of sonata movements in which the structure is in dialogue with eighteenth‐ and nineteenth‐century conceptions of the form. Performative in nature, his use of the formal genre is clearly displayed, indeed highlighted in the exposition, only to be just as openly countered later in the movement. Previous scholarship has focused on Shostakovich's use of sonata form in fir…
No prominent works on this page.
Retheorising the End
Between the mid‐1930s and the 1960s Dmitri Shostakovich composed a large number of sonata movements in which the structure is in dialogue with eighteenth‐ and nineteenth‐century conceptions of the form. Performative in nature, his use of the formal genre is clearly displayed, indeed highlighted in the exposition, only to be just as openly countered later in the movement. Previous scholarship has focused on Shostakovich's use of sonata form in fir…
Monsters, Meaning, and the Music of Chopin in American Horror Cinema of the 1930s and ’40s
Classic Hollywood horror films, even when produced at rival studios, demonstrate a surprising degree of consistency in their use of the music of Frédéric Chopin as a musical signifier. While as a general rule in these films conflicted selves are on display, Chopin’s music overflows one hermeneutic potential to embrace others necessary to each narrative. An investigation into how Chopin’s music functions in the diegesis of three films—Dracula’s Da…
Aesthetics (2 works) · Art (2 works) · Art history (2 works) · Literature (2 works) · Musicology and Musical Analysis (2 works) · Narrative (2 works) · Philosophy (2 works) · Concerto (1 work) · Dracula (1 work) · History (1 work)