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I just ordered about ten new film music books from my local library. mOST ARE FROM ACADEMIA
This is not yet available.
Just "finished: ANXIETY MUTED;American Film Music in A Suburban Age
Ughhhhhhhhhh!! This is more for Thor than me.
I read one chapter on THE TWILIGHT ZONE and another on THE PRISONER
BRM
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Based off the preview offered by Amazon, absolutely nothing in here couldn't be ascertained for free from Wikipedia, IMDB, here... Who'd buy this?
nO TELEVISION COMPOSERS IN THE index!!!!!!!!!!!!
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And Herman Stein was omitted as well. This book only highlights those who composed "complete" film scores. And "The Intruder" isn't one of them? Blasphemous!!!
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I just borrowed a copy from the library to see if I want to save up for it.
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I just borrowed a copy from the library to see if I want to save up for it.
Wow, this book could have been soooooo much shorter:
All that white space between lines!
All that opinion instead of analysis!
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I just borrowed a copy from the library to see if I want to save up for it.
Wow, this book could have been soooooo much shorter:
All that white space between lines!
All that opinion instead of analysis!
I totally agree. A entry on a film composer should regarding a certain score should rely on an analysis, not an opinion. And how about when Hinshak mentions that the theme from David Buttolph's theme from "This Gun For Hire" "has a Bossa Nova beat that's quite catchy". Funny, the film was released in '42 and Bossa Nova didn't come until 20 years later. The book not only could have been shorter, but researched much better, since the research is a little sloppy.
Thanks, FMN.
And I notice that Paul Williams and Dick Hyman, both with barely a handful of credits, get entries, when Patrick Williams does not????
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Posted: |
Jul 13, 2016 - 5:03 PM
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By: |
filmusicnow
(Member)
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I just borrowed a copy from the library to see if I want to save up for it.
Wow, this book could have been soooooo much shorter:
All that white space between lines!
All that opinion instead of analysis!
I totally agree. A entry on a film composer should regarding a certain score should rely on an analysis, not an opinion. And how about when Hinshak mentions that the theme from David Buttolph's theme from "This Gun For Hire" "has a Bossa Nova beat that's quite catchy". Funny, the film was released in '42 and Bossa Nova didn't come until 20 years later. The book not only could have been shorter, but researched much better, since the research is a little sloppy.
Thanks, FMN.
And I notice that Paul Williams and Dick Hyman, both with barely a handful of credits, get entries, when Patrick Williams does not????
And also where are Gail Kubik, Paul Sawtell and Bert Shefter, Gerard Schurmann, Fred Steiner, Harry Sukman and Morton Stevens?
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And why did the author have to mention the director after the the film's title?
Rightly or wrongly, the convention in academia when citing a film as a reference is to list the director as the author thusly*:
DRACULA (1931, Tod Browning)
STAR WARS (1977, George Lucas)
FREDDY GOT FINGERED (2001, Tom Green)
Which does unfortunately favour the auteur theory, but that's another discussion.
*Or at least it was when I was last in academia about a decade ago.
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Although I'm glad for bios of previously-ignored people like Webb and Skinner, I cannot forget that this author said that
a) Sting starred in and wrote the songs for LABYRINTH
b) George Duning has no discernible style
I'm gonna pass on owning this piece of work..... 
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