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Forbidden Planet is a product of the MGM studio, which at the time of the production of this film was hardly in the business of making science-fiction films. Originally planned as a "B" picture, the 1956 Forbidden Planet was praised for its spectacular special effects and brilliant color cinematography. The plot practically tingles with sexual innuendo and the dialogue is rich in references to Freudian psychology. However, in spite of all this, the film was marketed to a juvenile audience. Notwithstanding its uncommon look and "feel," perhaps the most unusual aspect of the film is the way it sounds. Never before had a major Hollywood effort utilized a score generated entirely by electronic means, yet seldom does one find commentary on how Louis and Bebe Barron's score again and again challenges Hollywood norms. In addition to placing the composers and film in historical context, James Wierzbicki's study offers a deep and thorough analysis of not only the music as used in the film, but also of the decontextualized music as presented by the Barrons on the 1977 "original soundtrack album." The text is generously illustrated with transcriptions and graphs, and can serve as a model for the examination of other extended works of electronic music for which no written score has ever existed.
Inspired by Shakepeare's The Tempest, this juke box musical is packed with rock 'n' roll classics such as Heard it Through the Grapevine, Young Girl, Good Vibrations, and Gloria. Blast off on a routine flight and crash into the planet D'Illyria where a sci fi version of The Tempest set to rock and roll golden oldies unfolds with glee. The planet is inhabited by a sinister scientist, Dr. Prospero; his delightful daughter Miranda; Ariel, a faithful robot on roller skates; and an uncontrollable monster, the product of Prospero's Id, whose tentacles penetrate the space craft.
The House of Incest, Anais Nin's famous prose poem, was first published in Paris in 1936 and immediately drew attention from the era's prominent writers, including Henry Miller and Lawrence Durrell. While written in English, it is considered a landmark work in the French surrealist tradition and one of the most unique books in 20th century literature.
In this chilling science fiction novel by H.G. Wells, rich and powerful men wage the ultimate war "to end all wars". Published in 1914, The World Set Free was ahead of its time, telling the story of how newly-acquired nuclear weapons led to warfare between nations. In the book, Wells explores how social and moral dilemmas can result in self-destruction and chaos before eventually leading to solutions that create a unique utopia. Even today, this classic novel speaks to the challenges society faces due to the rise of science and technology. ABOUT THE SERIES: The Arcturus Classics series brings together high-quality paperback editions of classics works, presented with contemporary graphic cover designs. Together they make a wonderful collection which is perfect for any home library.
A groundbreaking approach to sound in sci-fi films offers new ways of construing both sonic innovation and science fiction cinema Including original readings of classics like The Day the Earth Stood Still, 2001: A Space Odyssey, Star Wars, and Blade Runner, The Sound of Things to Come delivers a comprehensive history of sound in science fiction cinema. Approaching movies as sound objects that combine cinematic apparatus and consciousness, Trace Reddell presents a new theory of sonic innovation in the science fiction film. Reddell assembles a staggering array of movies from sixty years of film history—including classics, blockbusters, B-movies, and documentaries from the United States, Britain, France, Germany, Japan, and the Soviet Union—all in service to his powerful conception of sound making as a speculative activity in its own right. Reddell recasts debates about noise and music, while arguing that sound in the science fiction film provides a medium for alien, unknown, and posthuman sound objects that transform what and how we hear. Avoiding genre criticism’s tendency to obsess over utopias, The Sound of Things to Come draws on film theory, sound studies, and philosophies of technology to advance conversations about the avant-garde, while also opening up opportunities to examine cinematic sounds beyond the screen.
The second edition of a classic text on the history of electronic music, this book has been thoroughly updated to present material on home computers and the Internet, as well as enlarged sections on history and theoretical issues.
Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of "great film scores" and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.
Celluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the music—Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein and Howard Shore—and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present. Julie Hubbert’s introductory essays offer a stimulating overview of film history as well as critical context for the close study of these primary documents. In identifying documents that form a written and aesthetic history for film music, Celluloid Symphonies provides an astonishing resource for both film and music scholars and for students.
Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism. Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell
Since the early days of motion picture production, film scores have helped define our emotional and aesthetic perception of stories on screen--particularly with space movies and television. The music from The Day the Earth Stood Still, 2001: A Space Odyssey, Star Wars, Star Trek, Battlestar Galactica and others has helped define the public's awareness of space almost as much as the films themselves. In some cases, they have redefined the norms of film music. Star Wars not only revived the popularity of orchestral film scores but also helped stimulate an increased public interest in classical orchestral music around the world. This work explores the music and the composers who have helped define the sound of space for over a century, transforming how we perceive space and even inspiring greater interest in space exploration. This book also details how music has been performed and played in space since the early days of the "space race."