IFM Test#3 Flashcards
In the 1960s, the films in black and white that helped to create Film Noir used ______ sparingly
music
In the 1960s, the films in black and white that helped to create Film Noir. for the most part,where limited to the following instances
Opening and closing credits
Source music
Transitions
Montages
Landscape panoramas
Scenes of movement or action
Characteristics from this new emerging era are
1) a mix of serious and lighthearted moments; 2)frank treatment of sexuality, and 3) creative narratives and images.
one of the most brilliant examples of a Hollywood adaptation of a novel
To Kill a Mocking Bird.
To kill a mocking bird was based on what?
Harper Lee’s prize-winning novel, based on her experiences growing up in a small Alabama town
The Graduate, showcasing the compositional talents of _____
the folk-rock duo of Paul Simon and Art Garfunkel
The other music provided by composer _____ is entirely diegetic, including the music emanating from Mrs. Robinson’s stereo and other musical sources at the Taft Hotel
Dave Grusin
THE CRISIS YEARS
1968-1972
shaped morality codes for films for two decades, was officially eliminatedin 1968
The Hays Code
the new rating system for the Motion Picture Association of America was created on
November 1st, 1968
Director Stanley Kubrick’s (1928-1999) vision of the future garnered him much attention with arguably his greatest work,
2001: A Space Odyssey
Kubrick tried to expand on Arthur Clarke’s short story
“The Sentinel”
The music for 2001 had originally been tabbed by Kubrick to ask composer Alex North to write the score. but then was thrown out for what?
used borrowed music from classical composers Richard Strauss, Johann Strauss Jr., and Hungarian composer György Ligeti
THE GODFATHER was based on what
Mario Puzo’s winning novel, The Godfather
THE GODFATHER’s The score, composed by ______ (1911-1979) and ______
Nino Rota, and Carmine Coppola
In 1974 _____ , an up-and-coming director at the time, recommended Williams to George Lucas for Star Wars
Steven Spielberg
Williams’s style has encompassed the popular
avant-garde, and from jazz to minimalism
Williams has received nearly _____ Academy Award nominations, and has won _ oscars.
40, 5
Studios depended on the sequel for various reasons,but mainly because
it was bankable
In the 1970s and 80s, certain Hollywood films accessed music of the past
Kramer vs. Kramer (1979) utilized the music of Vivaldi and Purcell
Amadeus of course centered on the music of ____
Mozart
THE EXORCIST borrows from some of the most radical works of the 20th century avant-garde movement
Krzystof Penderecki’s String Quartet No. 1, Polymorphia, Kanon for Orchestra and Tape, and Devils of Loudun; George Crumb’s Black Angels; and Anton Webern’s Five Pieces for Orchestra
THE SHINING The musical score, mixes borrowed excerpts of avant-garde music with original synthesized music created by
Wendy Carlos
an electronic instrument incorporating a keyboard
the synthesizer
Kubrick had selected the repertoire to be included in the film, but it was music editor ______ who was responsible for synchronizing
Gordon Stainforth
The music, is all borrowed from _______, including Bartok’s Music for Strings, Percussion and Celesta (1936), Ligeti’s Lontano (1967) and six works by Polish composer Krzystof Penderecki—including his De Natura Sonoris No. 1, Polymorphia, Utrenja, and Kanon.
the 20th century
_______ and _______ music experiment with sound masses, sliding pitches and amorphous rhythm
Ligeti and Penderecki’s
In the post-__________, and ________, Hollywood still was saturated with symphonic scores into the 1990s
John Williams symphonic score, and Avant-garde experimentation era
The resource of ________ remained a virtually untapped resource
animated films
However, in 1989, all that changed with the sensational Hollywood debut of _________
The Little Mermaid
Characteristics of the “Disney formula”
fairy-tale love story with a strong female role, comic sidekicks for both the antagonist and protagonist, casting well-known entertainment figures as voices, and the implementation of many engaging songs, some of them pop.
The man responsible for Disney’s second renaissance was
Alan Menken (b. 1949)
Menken’s contributions didn’t just end with The Little Mermaid; his soundtrack scores include
Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995), The Hunchback of Notre Dame (1996), Hercules (1997), Enchanted (2007) and Tangled (2010).
_______ worked as a rock musician in London and explored the use of synthesizer in film composition
Hans Zimmer
Since then, Zimmer’s name is synonymous with Hollywood film soundtracks
Driving Miss Daisy (1989), The Lion King (1994), Gladiator (2000), Pearl Harbor (2001), The Da Vinci Code (2006), The Dark Knight (2008) and Inception (2010)
Zimmer scored ______, and provided Disney with one of its most iconic hits
The Lion King
who wrote the songs for the movie, proved to be the right partnership in conjunction with Zimmer’s score
Elton John
Director _________ brilliantly directed the Tolkien novels into the sensational cinematic Trilogy (LOTR: The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003)
Peter Jackson
created the soundtrack to all 3 movies in the trilogy LOTR
Howard Shore
Shore originally got his musical start as the musical director for _____
Saturday Night Live in the 1970’s
In 1988, shores score to _____ featured his jazz improvisation of “Heart and Soul
Tom Hanks’s movie Big
The 1990s showed shores mettle in scoring the films
Silence of the Lambs (1991) and Mrs. Doubtfire (1993)
Shore’s score is both brilliant and symphonic, and mirrors the efforts of
John William’s monumental scores for Star Wars and its sequels.
Many believe the principle difference between Williams and Shore’s music, is
Shore’s extensive use of voices, both in the solo and choral realms.
Shore employs Gregorian Cha
The chanting choral cues that Shore utilizes also is reminiscent of Carl Orff’s
Carmina Burana choral masterpiece
other memorable voice moments in the film come at the
death of Gandalf ,the serene chanting at the apparition of Rivendell, and Lothlorien (and the scene between Arwen and Aragorn, with vocals by Enya
