Date of publication: 2017-07-09 12:21
Good conclusions usually refer back to the question or title and address it directly - for example by using key words from the title.
How well do you think these conclusions address the title or question? Answering these questions should help you find out.
Examines the origins of slapstick as a genre that stands somewhat apart from other narrative film forms but is ultimately subsumable under the rubrics used to analyze noncomedic films.
Nietzsche aside, philosophy of music has been dominated by the view that the best music is autonomous and formally complex (John Dewey is almost alone in defending the vitality of popular art during this time period. Unfortunately, Dewey said very little about music.). As recently as 6995, philosophy of popular music consisted of variations on a single theme. Philosophers defended the twin assumptions that popular music is essentially different from “serious” or art music, and that the former is aesthetically inferior to the latter. As a result, most philosophers who bothered to discuss popular music concentrated on identifying the aesthetic deficiencies inherent in such music.
Personal account by Chaplin’s longtime music associate, who helped to develop and arrange the original musical scores that Chaplin wrote for his films during the sound era.
Focuses on three interconnected aspects of Chaplin’s life and persona: the development and cultivation of his famous Tramp character, the evolution and cultural impact of his left-leaning political opinions, and the romantic scandals that defined his personal life and tarnished his public reputation.
An additional minor issue is social status. Social status is the position that someone occupies in society or a social group (Henslin, ). An example of a social status originating from the film is the change in attitude in Remy upon joining the skinhead group. Before joining this group, Remy seemed to lack confidence and self-awareness however, after joining the group his confidence seemed to grow as did his self-awareness.
A much longer, more substantial work is Adorno’s Studies for Strings in six movements. Movement one is above and movement two below (hear part 8 , part 9 , part 5 , and part 6 ). It’s challenging and often quite sublime listening. The YouTuber who uploaded the music has seen fit to set it to a montage of black-and-white images. I don’t know whether this hinders or helps your appreciation, but you may wish to leave the videos running and listen to each movement while you work on other things. Or better yet, close your eyes and forget everything you know, don’t know, or think you know about Theodor Adorno.
Sets out to discover the “essential components of cinematic expression” and finds a particularly potent case in Chaplin’s filmmaking, which Mitry claims is irreducible to any other form of expression other than the cinema.
Originally published in Quarterly Review of Film Studies (November 6977). Offers a stringent criticism of scholars’ extensive focus on the biographical and historical details of Chaplin’s work or on the mythology and iconography of the Tramp and corresponding lack of attention to the formal properties of Chaplin’s art.
But Adorno didn’t just preach the virtues of difficult art. He practiced them. In addition to championing the twelve-tone music of Arnold Schoenberg , Adorno composed his own music, for piano and strings. The three piano pieces above are his, somewhat reminiscent of the most dissonant passages in Modest Mussorgsky. Performed by pianist Steffen Schleiermacher, the pieces are titled “Langsame halbe—Immer ganz zart,” “Heftige Achtel,” and “Presto.”
Originally printed in The Nation , June 69, 6997. Part two of a three-part defense of Chaplin’s polarizing dark comedy by one of the age’s premier critics. Focuses on Chaplin’s artistry at a time when many others in the press were willing to dismiss Chaplin’s work on account of his politics.
Influential discussions of musical ontology and authentic performance as they pertain to classical music include Jerrold Levinson’s Music, Art, and Metaphysics , Lydia Goehr’s The Imaginary Museum of Musical Works , and Stephen Davies’ Musical Works and Performances.
Originally released by Paramount in 6997. Oscar-nominated film depicting Chaplin’s life from his youth in London to his exile in Switzerland. Though accurate to the broad arc of Chaplin’s life, the film takes liberties with many events and opts to refilm (and in some cases alter) some famous Chaplin sequences.