| Contents |
Differences between British and American films: a historical perspective -- Formulae in the classical Hollywood score -- A comparison between British and American composers in their approach to film scoring -- British composers' use of themes for narrative development -- Arnold Bax's musico-dramatic treatment of Oliver Twist -- Three other first attempts at feature-film scoring: 49th Parallel, The Halfway House and Blue Scar -- Dialogue scoring of British films of the 1930s -- The impact of the Second World War on British films, and developments in dialogue scoring in the 1940s -- A look at some British films scored by foreign composers -- The decline of British cinema in the 1950s, and the consequences for British film scores -- The author in conversation with Roy Douglas, 4 August 1993 -- 'The True Story of The Warsaw Concerto', by Roy Douglas -- Interview with Doreen Carwithen, 2 July 1997. |
| Abstract |
This book is concerned with the special British contribution to film music, detailing how the idiosyncrasies of British film, and of the British character, set it apart from its Hollywood counterpart. The author shows how the differences between the two industries in all aspects of film making variously affected composers on both sides of the Atlantic. |
| Bibliography note | Includes filmography (pages 231-234), bibliographical references (pages 235-237), and index. |
| LCCN | 2001043610 |
| ISBN | 0851158625 (alk. paper) |
