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Alison Tara Walker

the late Romantic style, reinforced the connection’ between films and romantic music; whether using pre-existing orchestral arrangements or relying on composers of the day to write new symphonic pieces for films, classical Hollywood cinema ‘adapted the late-romantic orchestra of ninety-plus players for the recording studio’. 12 Not only did romantic music rely on a large orchestra, its emotional qualities and

in Medieval film
Fact, fiction, and film
Kevin J. Harty

(ed.), The Vikings on Film: Essays on Depictions of the Nordic Middle Ages (Jefferson: McFarland & Co., 2011), pp. 193–214 (210–11). More recent discussions of the film can be found in Arne Lunde, Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema (Seattle: University of Washington Press, 2010), pp. 17–26; and in Jón Karl Helgason, Echoes of Valhalla: The Afterlife of the Eddas and Sagas , trans. Jane Victoria Appleton (London: Reaktion Books, 2017), pp. 163–71. 3 See H. T. Kalmus, ‘ Technicolor adventures in Cinemaland ’, Journal of

in From Iceland to the Americas