- Film Music And Sound, Film music and film music theory, Film and History, Film Theory, Film Theory and Practice, Film History, and 28 moreAnalysis of Film Music, Opera and classical music in film, Film Sound and Music, Screen Aesthetics and Formal Analysis, Cultural Studies, Screenwriting, Star Studies, Screenwriting Research Network, Classical Hollywood, Film Music, Silent Cinema, Silent Film, American Cinema, Film and Media Studies, Indian Cinema, Bollywood, Film Studies, South Asia, Media, Film Studies, World Cinema, Bollywood, Film Analysis, Indian Cinema, Silent Film Music, Film industry, Film Genre, Hindi Cinema, Film Production, Austrian Studies, Narratology, and Film musicalsedit
- Principle investigator of several research projects. Habilitation (post-doc thesis) about the history of the American... morePrinciple investigator of several research projects. Habilitation (post-doc thesis) about the history of the American screenplay. Publications about storytelling in silent cinema, Hindi cinema and film music. Teaches film studies at universities in Vienna, Brno, Kiel and Salamanca. Recent publications: When Music Takes Over in Film (ed. with Anna K. Windisch and Phil Powrie) Palgrave 2023 and The Palgrave Handbook of Screenwriting Studies (ed. with Rosamund Davies and Paolo Russo) Palgrave 2023.edit
This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of... more
This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive media, and includes a range of approaches, from theoretical perspectives to in-depth case studies. 44 scholars from around the globe demonstrate the range and depths of this new and expanding area of study. As the chapters of this Handbook demonstrate, shifting the focus from the finished film to the process of screenwriting and the text of the screenplay facilitates valuable new insights. This Handbook is the first of its kind, an indispensable compendium for both academics and practitioners.
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Short Analysis of the music for There Will Be Blood
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The Sounds of Silent Films comprises up-to-date research on silent film sound, providing a particular focus on historical performance practices combined with detailed theoretical case studies. The contributions by eminent scholars in the... more
The Sounds of Silent Films comprises up-to-date research on silent film sound, providing a particular focus on historical performance practices combined with detailed theoretical case studies. The contributions by eminent scholars in the fields of musicology, film studies and media studies, as well as by curators and archivists, explore crucial notions such as the historicity of interpretations of silent film music and the diverse acoustic manifestations of film exhibition. The volume stands among the first to integrate a large number of texts that cover a variety of cultural and historical sites and their particular regional and local historical performance practices in, for example, Swedish, Polish, British, Italian, Austrian and Indian silent cinema. The contextualizations of silent film sound production are confronted with their reception in the United States and form a unique comparative perspective for the welldocumented North American literature.
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Beiträge zu einem intermedialen Phänomen
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Das erste Jahrzehnt abendfüllender Spielfilme Hollywoods steht im Mittelpunkt dieser Untersuchung. Die Analyse zeichnet ein Bild Hollywoods, das dem des klassischen Hollywood-Kinos in vielen Punkten entgegensteht. Das Buch weist nach,... more
Das erste Jahrzehnt abendfüllender Spielfilme Hollywoods steht im Mittelpunkt dieser Untersuchung. Die Analyse zeichnet ein Bild Hollywoods, das dem des klassischen Hollywood-Kinos in vielen Punkten entgegensteht. Das Buch weist nach, dass die Erzählweisen dieser Filme aus dem Kampf zwischen klassischen und melodramatischen Modellen des Erzählens entstanden und dass die dabei gefundenen Lösungen weit vielfältiger waren als bislang angenommen. Alternative Erzählweisen zum Hollywood-Kino finden sich somit in Hollywoods eigener Geschichte.
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Schreiben für Hollywood rückt den Ausgangspunkt für jeden Film in die Mitte: das Drehbuch. Seine Entwicklung wird am Beispiel dreier Autorinnen und Autoren analysiert. Mit Frances Marion führt es durch den Stummfilm, mit Ben Hecht durch... more
Schreiben für Hollywood rückt den Ausgangspunkt für jeden Film in die Mitte: das Drehbuch. Seine Entwicklung wird am Beispiel dreier Autorinnen und Autoren analysiert. Mit Frances Marion führt es durch den Stummfilm, mit Ben Hecht durch die 1930er Jahre und mit Dalton Trumbo kommt das Buch ans Ende des Studiosystems. Dabei bietet es eine detaillierte Analyse der organisatorischen, ökonomischen und ästhetischen Bedingungen, unter denen in Hollywood Drehbücher geschrieben wurde. An Hand von Archivmaterial gewährt das Buch erstmals Einblick in historische Drehbuchsitzungen und in Details der Drehbucharbeit in Hollywood.
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Das populäre indische Kino erfreut sich plötzlich höchster Aufmerksamkeit. Die seriöse und wissenschaftliche Auseinandersetzung hat gerade erst begonnen, Publikationen sind Mangelware. Dem will dieser Band abhelfen, der sich mit... more
Das populäre indische Kino erfreut sich plötzlich höchster Aufmerksamkeit. Die seriöse und wissenschaftliche Auseinandersetzung hat gerade erst begonnen, Publikationen sind Mangelware. Dem will dieser Band abhelfen, der sich mit Geschichte und Ästhetik des Hindi-Films seit 1947 beschäftigt. Im Zentrum stehen das Goldende Zeitalter des indischen Films in den 50er Jahren, der Aufstieg des größten indischen Stars Amitabh Bachchan seit den 70er Jahren sowie die Entwicklungen der letzten 15 Jahre.
Ästhetik, Dramaturgie und Produktionsweise des Hindi-Films nehmen den zweiten Teil des Buchs ein. Historische Darstellung, formale und dramaturgische Analysen sowie die ökonomische Basis des Hindi-Films bieten solcherart mehrere Wege zum besseren Verständnis von Filmen, "Made in Bollywood".
Ästhetik, Dramaturgie und Produktionsweise des Hindi-Films nehmen den zweiten Teil des Buchs ein. Historische Darstellung, formale und dramaturgische Analysen sowie die ökonomische Basis des Hindi-Films bieten solcherart mehrere Wege zum besseren Verständnis von Filmen, "Made in Bollywood".
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ollywood ist nicht nur ein Lifestylephänomen, auch die Wissenschaft beschäftigt sich zunehmend mit indischer Populärkultur. An der Universität Wien findet seit Jahren wichtige Forschung zu diesem Thema statt. Dieser Sammelband vereint... more
ollywood ist nicht nur ein Lifestylephänomen, auch die Wissenschaft beschäftigt sich zunehmend mit indischer Populärkultur. An der Universität Wien findet seit Jahren wichtige Forschung zu diesem Thema statt. Dieser Sammelband vereint Beiträge aus so unterschiedlichen Disziplinen wie Kultur- und Sozialanthropologie, europäischer Ethnologie, Musik-, Film- und Theaterwissenschaft. Dabei wird deutlich, dass gerade das Phänomen Bollywood eine interdisziplinäre Auseinandersetzung notwendig macht. Die Präsentation der Wiener Forschung wird durch Beiträge aus Deutschland und Neuseeland ergänzt.
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The Case of Notorious
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Filmmusik ist Teil des Soundtracks eines Films. Insofern ist das Verhältnis von Musik zu den anderen Elementen – Geräusche und Sprache – eine der ersten Bestimmungen jeder Analyse von Filmmusik. Filmmusik wird verstanden als Musik im... more
Filmmusik ist Teil des Soundtracks eines Films. Insofern ist das Verhältnis von Musik zu den anderen Elementen – Geräusche und Sprache – eine der ersten Bestimmungen jeder Analyse von Filmmusik. Filmmusik wird verstanden als Musik im Film, nicht ausschließlich als Musik für den Film. Das Kapitel gibt eine Übersicht über die wichtigsten Aspekte der Filmmusik, über Analysemethoden und zentrale Begrifflichkeiten. Dabei werden vor allem die Beiträge der rezenten Forschung berücksichtigt.
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Analysis of Sam Fuller's White Dog
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Essay on the meanings and functions of improvisation in jazz and film and the relations of these media
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In: Gehlawat, Ajay (ed.): The Slumdog Phenomenon, Edition: New Perspectives on World Cinema, London et al: Anthem Press 2013, Editors: Gehlawat, pp.109 – 120
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Vorwort zu Dibiasi, Alexander: Wolverine wird Abgeordneter. Münster: Lit Verlag 2011Alexander Dibiasis "Wolverine wird Abgeordneter"
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Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production-the screenplay-has often been... more
Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production-the screenplay-has often been overlooked in the exploration of sound and music integration. Concurrently, studies on screenwriting have displayed limited interest in the acoustic dimensions of film, creating a research gap where film music studies intersect with screenwriting studies. This Special Issue aims to address this gap by emphasizing the screenplay's importance in comprehending the role of sound and music in film. This introduction showcases the diverse ways in which music and sound are integrated into screenplays. The ongoing exploration of screenplays for the analysis of sound and music sets the stage for future research endeavours. The editors and authors of this Special Issue advocate for the screenplay as a valuable resource in film music studies, providing innovative insights into the film production process.
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Martin Marks holds an almost unique position to talk about silent film music: he is a scholarly musician and musical scholar. Besides his canonical book on the history of silent film music (1997), he has been playing piano accompaniments... more
Martin Marks holds an almost unique position to talk about silent film music: he is a scholarly musician and musical scholar. Besides his canonical book on the history of silent film music (1997), he has been playing piano accompaniments for silent films regularly for nearly four decades. In this interview we asked Martin about the challenges and complexities of choosing and creating music to accompany musical numbers in silent cinema. Martin relates how he detects musical numbers and he expounds his decision-making process on how to treat them. His explanations are interspersed with engaging examples from his practical work and based on both his scholarly knowledge and on his musical intelligence. He talks about the use of pre-existing music as well as about anachronisms in choosing music written many decades after a film was first released. In sum, this interview delivers detailed and informed insights into the difficulties and pleasures of accompanying musical numbers or other types of diegetic music in silent cinema.
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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome... more
Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.
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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to... more
Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays.
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Academy Award-winning Austrian screenwriter Walter Reisch’s (1903–83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films,... more
Academy Award-winning Austrian screenwriter Walter Reisch’s (1903–83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions and use of songs and leitmotifs). The article closes with a reading of the final number in the last film he was able to make in Austria: Silhouetten (1936).
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Over the last few years, sound and music practices during the silent film period have received an increasing attention from the academic community, both in film studies and musicology. The emergence of interdisciplinary networks, such as... more
Over the last few years, sound and music practices during the silent
film period have received an increasing attention from the academic
community, both in film studies and musicology. The emergence of
interdisciplinary networks, such as “The Sounds of Early Cinema in
Britain” (Brown and Davison 2013) and the “Cabiria Research
Project” in Italy (Colturato 2014), have contributed to widen the
frame of this field, revealing the importance of national, regional and
local specificities in the construction of early cinema as an auditory
experience. In the context of the thematic issue on “Music, sound
and cinema”, Aniki interviewed Claus Tieber and Anna K. Windisch.
film period have received an increasing attention from the academic
community, both in film studies and musicology. The emergence of
interdisciplinary networks, such as “The Sounds of Early Cinema in
Britain” (Brown and Davison 2013) and the “Cabiria Research
Project” in Italy (Colturato 2014), have contributed to widen the
frame of this field, revealing the importance of national, regional and
local specificities in the construction of early cinema as an auditory
experience. In the context of the thematic issue on “Music, sound
and cinema”, Aniki interviewed Claus Tieber and Anna K. Windisch.
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Report about the 9th annual SRN conference at Leeds Beckett University/University of Leeds, UK, 8–10 September 2016
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Song-and-dance numbers are no invention of the sound film. In an ongoing project I am examining such numbers in Austrian silent cinema, which contains a significant amount of musical performances in fictional films. This article opens... more
Song-and-dance numbers are no invention of the sound film. In an ongoing project I am examining such numbers in Austrian silent cinema, which contains a significant amount of musical performances in fictional films. This article opens with an overview of the different modes of including songs in Austrian silent cinema, followed by a historical contextualization and close reading of an unusually elaborate song-and-dance number from the 1927 film Seine Hoheit, der Eintänzer (His Highness, the Gigolo, AT 1927, Karl Leiter).
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Zum Forschungsprojekt "Der österreichische Musikfilm 1912-1933"
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Continuing the endeavors for more detailed and nationally diverse studies of “silent” film sound, this article explores the deployment of the singing voice in Vienna’s movie theaters, discussing the city’s specific preconditions for... more
Continuing the endeavors for more detailed and nationally diverse studies
of “silent” film sound, this article explores the deployment of the singing voice
in Vienna’s movie theaters, discussing the city’s specific preconditions for cinema
sound and the resulting proliferation of vocal performances in film exhibition focusing
on the years 1913 to 1923.
of “silent” film sound, this article explores the deployment of the singing voice
in Vienna’s movie theaters, discussing the city’s specific preconditions for cinema
sound and the resulting proliferation of vocal performances in film exhibition focusing
on the years 1913 to 1923.
Research Interests: Film Studies, Film Music And Sound, Film Analysis, Silent Film, Film History, and 11 moreAnalysis of Film Music, Film music and film music theory, Film Music, Film and Media Studies, Silent Cinema, Austrian Cinema, Austrian Film, Silent Films, Austrian Studies, Silent Film Music, and Early and Silent Cinema
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Screenwriters are only recognized when they are either refusing to or not allowed to work. The screenwriters' strike in 200708 received much more media coverage than the com-bined members of the Writers Guild in years. Between... more
Screenwriters are only recognized when they are either refusing to or not allowed to work. The screenwriters' strike in 200708 received much more media coverage than the com-bined members of the Writers Guild in years. Between 1947 and 1960 many screenwriters were not ...
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Die Analyse von Musik und Ton in Wiener Kinos der Stummfilmzeit (und an anderen Orten, an denen Filme gezeigt wurden) muss sich zwangsläufig auf Aufführungspraxen konzentrieren und nicht auf einzelne Filme. Derselbe Film klang in den... more
Die Analyse von Musik und Ton in Wiener Kinos der Stummfilmzeit (und an anderen Orten, an denen Filme gezeigt wurden) muss sich zwangsläufig auf Aufführungspraxen konzentrieren und nicht auf einzelne Filme. Derselbe Film klang in den Kinos der Stadt unterschiedlich, er klang in anderen Städten und Ländern erst recht ganz anders.
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Direktadressierung in fiktionalen Filmen und Fernsehserien
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Falco neben Bob Dylan, Edith Piaf neben Joy Division. Die Eigenheiten der Filmindustrie ermöglichen es derzeit, in den heimischen Kinos nicht nur eine filmische, sondern auch eine musikalische Wahl zu treffen.
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Interview mit Ernst Hinterberger
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Kinderfilme zählen zu den verlässlichsten Einnahmequellen der Filmindustrie. Auch diesen Sommer klingelten mit Blockbustern wie „Wall-E“ oder „Kung Fu Panda“ weltweit die Kinokassen. Aber gibt es den „klassischen“ Kinderfilm wirklich noch?
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Nach dem Ende des Kalten Krieges wussten sie nicht mehr so recht, wofür sie gebraucht werden. Die Terroranschläge von 9/11 brachten Geheimagenten wieder zurück ins Kino und ins Fernsehen. Brutaler und politischer denn je, erkennt man sie... more
Nach dem Ende des Kalten Krieges wussten sie nicht mehr so recht, wofür sie gebraucht werden. Die Terroranschläge von 9/11 brachten Geheimagenten wieder zurück ins Kino und ins Fernsehen. Brutaler und politischer denn je, erkennt man sie kaum wieder.
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Er hat über eine Milliarde Fans. Seine Filme werden weltweit gesehen und seine Fans pilgern zu jedem seiner Auftritte. Der neue globale Superstar ist kein weißer Popstar aus Amerika, sondern ein indischer Moslem: Der... more
Er hat über eine Milliarde Fans. Seine Filme werden weltweit gesehen und seine Fans pilgern zu jedem seiner Auftritte. Der neue globale Superstar ist kein weißer Popstar aus Amerika, sondern ein indischer Moslem: Der Bollywood-Schauspieler Shah Rukh Khan.
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Book review
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book review
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Book Review
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Book review
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book review
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Book review
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A Classic Text I Couldn't Teach Without
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book review
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Filmkritik DEV.D (2009)
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Review of Phil Powrie: Music in Contemporary French Cinema
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Review of edited volumne about the recent state of melodrama research
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book review
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Focusing on the most successful films Hollywood has ever made, the authors' approach is as straightforward as it is convincing. It is astonishing that such a direct and logical approach has not been taken before. This way of... more
Focusing on the most successful films Hollywood has ever made, the authors' approach is as straightforward as it is convincing. It is astonishing that such a direct and logical approach has not been taken before. This way of defining a film corpus leads the authors to questions of ...
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... historical research besides books on the issue. The rather long survey of the history of the Classical Hollywood Studio System and studio-like film-making in Europe therefore does not provide any new insights for the scholar. ...
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review HJFRT
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Review of MacDonalds recent book
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History of cinema and film music in early Austrian film history
Research Interests: Humanities, Art, Film Studies, Film Music And Sound, Film History, and 13 moreAnalysis of Film Music, Film and History, Film music and film music theory, Film Music, Film and Media Studies, Cinema Studies, Austrian History, Film Music Aesthetics, Musicological Film Studies, Film Sound and Music, Music Scoring for Film, Silent Film Music, and Film music Composition
The Sounds of Silent Films comprises up-to-date research on silent film sound, providing a particular focus on historical performance practices combined with detailed theoretical case studies. The contributions by eminent scholars in the... more
The Sounds of Silent Films comprises up-to-date research on silent film sound, providing a particular focus on historical performance practices combined with detailed theoretical case studies. The contributions by eminent scholars in the fields of musicology, film studies and media studies, as well as by curators and archivists, explore crucial notions such as the historicity of interpretations of silent film music and the diverse acoustic manifestations of film exhibition. The volume stands among the first to integrate a large number of texts that cover a variety of cultural and historical sites and their particular regional and local historical performance practices in, for example, Swedish, Polish, British, Italian, Austrian and Indian silent cinema. The contextualizations of silent film sound production are confronted with their reception in the United States and form a unique comparative perspective for the welldocumented North American literature.
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This is an abridged and partially elaborated version of a roundtable discussion that took place via Zoom on 17 September 2021 as part of the SRN2021 Research Seminar Series Online and of a follow-up session held via Zoom on 15 November... more
This is an abridged and partially elaborated version of a roundtable discussion that took place via Zoom on 17 September 2021 as part of the SRN2021 Research Seminar Series Online and of a follow-up session held via Zoom on 15 November 2021. In keeping with the theme of SRN2021, ‘Pushing Boundaries’, this discussion was an opportunity to raise a few questions about whether and how, as Screenwriting Research Network (SRN), over the years we have defined our own boundaries in terms of scholarship and as a field, as well as how we can keep challenging ourselves when looking at the future. Involving both veterans and younger members of the SRN, it sets forth by taking stock of some significant achievements of the past fifteen years or so to then focus on issues of global outreach as well as methodological openness and rigour. After acknowledging some of the most pressing obstacles and opportunities within and outside academia, the discussion wraps up by looking at the distinctiveness of...
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Song-and-dance numbers are no invention of the sound film. In an ongoing project I am examining such numbers in Austrian silent cinema, which contains a significant amount of musical performances in fictional films. This article opens... more
Song-and-dance numbers are no invention of the sound film. In an ongoing project I am examining such numbers in Austrian silent cinema, which contains a significant amount of musical performances in fictional films. This article opens with an overview of the different modes of including songs in Austrian silent cinema, followed by a historical contextualization and close reading of an unusually elaborate song-and-dance number from the 1927 film Seine Hoheit, der Eintänzer (His Highness, the Gigolo, AT 1927, Karl Leiter).
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Introductory Lecture about topics, motifs and discourses about contemporary European cinema
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kurze Einleitung zum Werk des Kameramannes Karl Freund
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In this paper I want to give a glimpse into an important era of Indian screenwriting and into the work of two of the most important Indian screenwriters, but also to look after the circumstances in society, culture and film production... more
In this paper I want to give a glimpse into an important era of Indian screenwriting and into the work of two of the most important Indian screenwriters, but also to look after the circumstances in society, culture and film production that are influencing the way a film tells its story – not only in India.
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This paper compares the screen images of India's most popular film stars: Amitabh Bachchan and SRK and contextualizes them.
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Mary Pickford’s star image consists of her on-screen persona of “little Mary” and her off-screen image as Mary Pickford, the successful actress and businesswomen, co-fonder of United Artists. Both parts of her image, the sentimental,... more
Mary Pickford’s star image consists of her on-screen persona of “little Mary” and her off-screen image as Mary Pickford, the successful actress and businesswomen, co-fonder of United Artists. Both parts of her image, the sentimental, Victorian, female ideal and the modern woman of the 1910s and 1920s were to a large part written by Frances Marion. Marion did not only write the screenplays for Pickford’s most successful films, she also helped to construct her off-screen image in ghost-writing Pickford’s newspaper column “Daily Talks.” In analyzing some of these columns the article examines Pickford’s off-screen image and compares it with her screen persona. The result is an insight in the specifics of the construction of silent era star images.
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Filmmusik ist Teil des Soundtracks eines Films. Insofern ist das Verhaltnis von Musik zu den anderen Elementen – Gerausche und Sprache – eine der ersten Bestimmungen jeder Analyse von Filmmusik. Filmmusik wird verstanden als Musik im... more
Filmmusik ist Teil des Soundtracks eines Films. Insofern ist das Verhaltnis von Musik zu den anderen Elementen – Gerausche und Sprache – eine der ersten Bestimmungen jeder Analyse von Filmmusik. Filmmusik wird verstanden als Musik im Film, nicht ausschlieslich als Musik fur den Film. Das Kapitel gibt eine Ubersicht uber die wichtigsten Aspekte der Filmmusik, uber Analysemethoden und zentrale Begrifflichkeiten. Dabei werden vor allem die Beitrage der rezenten Forschung berucksichtigt.
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Report about the 9th annual SRN conference at Leeds Beckett University/University of Leeds, UK, 8–10 September 2016
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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome... more
Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and ...
Research Interests:
Martin Marks holds an almost unique position to talk about silent film music: he is a scholarly musician and musical scholar. Besides his canonical book on the history of silent film music (1997), he has been playing piano accompaniments... more
Martin Marks holds an almost unique position to talk about silent film music: he is a scholarly musician and musical scholar. Besides his canonical book on the history of silent film music (1997), he has been playing piano accompaniments for silent films regularly for nearly four decades. In this interview we asked Martin about the challenges and complexities of choosing and creating music to accompany musical numbers in silent cinema. Martin relates how he detects musical numbers and he expounds his decision-making process on how to treat them. His explanations are interspersed with engaging examples from his practical work and based on both his scholarly knowledge and on his musical intelligence. He talks about the use of pre-existing music as well as about anachronisms in choosing music written many decades after a film was first released. In sum, this interview delivers detailed and informed insights into the difficulties and pleasures of accompanying musical numbers or other ty...
Research Interests:
Academy Award-winning Austrian screenwriter Walter Reisch’s (1903–83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films,... more
Academy Award-winning Austrian screenwriter Walter Reisch’s (1903–83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions and use of songs and leitmotifs). The article closes with a reading of the final number in the last film he was able to make in Austria: Silhouetten (1936).
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Screenwriting manuals There is hardly a field in the film production process where one can find more literature on than screenwriting. As a film scholar and a film historian I am interested in the question whether these manual are able to... more
Screenwriting manuals There is hardly a field in the film production process where one can find more literature on than screenwriting. As a film scholar and a film historian I am interested in the question whether these manual are able to deliver insights for film studies and if so how should they be read, treated and contextualized? I am not concerned whether these books are of any help for actual screenwriters but with the functions of these manuals within and outside the film industry. In general there are two positions held in film studies: those who ignore the manuals (which in most cases also still ignore screenwriting as a whole). This position can still be found in some textbooks and introductory literature. The other position wants to integrate manuals into film studies and treat them as if they were scholarly literature. This position can be found among others in Classical Hollywood Cinema (CHC), and David Bordwell and Kristin Thompson's writings about the subject. Nee...
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Die Analyse von Musik und Ton in Wiener Kinos der Stummfilmzeit (und an anderen Orten, an denen Filme gezeigt wurden) muss sich zwangsläufig auf Aufführungspraxen konzentrieren und nicht auf einzelne Filme. Derselbe Film klang in den... more
Die Analyse von Musik und Ton in Wiener Kinos der Stummfilmzeit (und an anderen Orten, an denen Filme gezeigt wurden) muss sich zwangsläufig auf Aufführungspraxen konzentrieren und nicht auf einzelne Filme. Derselbe Film klang in den Kinos der Stadt unterschiedlich, er klang in anderen Städten und Ländern erst recht ganz anders.
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In: Gehlawat, Ajay (ed.): The Slumdog Phenomenon, Edition: New Perspectives on World Cinema, London et al: Anthem Press 2013, Editors: Gehlawat, pp.109 – 120
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Einleitung von Anna Katharina Windisch. Silent Film Music: A Working Bibliography complied by Hans Jürgen Wulff und Claus Tieber
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Essay on the meanings and functions of improvisation in jazz and film http://lit-verlag.de/isbn/3-643-50614-6
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Continuing the endeavors for more detailed and nationally diverse studies of "silent" film sound, this article explores the deployment of the singing voice in Vienna’s movie theaters, discussing the city’s specific preconditions... more
Continuing the endeavors for more detailed and nationally diverse studies of "silent" film sound, this article explores the deployment of the singing voice in Vienna’s movie theaters, discussing the city’s specific preconditions for cinema sound and the resulting proliferation of vocal performances in film exhibition focusing on the years 1913 to 1923.
Research Interests: Art, Film Studies, Film Music And Sound, Film Analysis, Silent Film, and 15 moreFilm History, Analysis of Film Music, Film music and film music theory, Visual Arts, Music and the Moving Image, Film Music, Film and Media Studies, Silent Cinema, Austrian Cinema, Singing, Austrian Film, Silent Films, Austrian Studies, Silent Film Music, and Early and Silent Cinema
ABSTRACT In analyzing the script development of Grand Hotel (1932, Edmund Goulding), this article brings an insight into the workings of the classical studio system and the way screenwriting was organized and understood during this era.... more
ABSTRACT In analyzing the script development of Grand Hotel (1932, Edmund Goulding), this article brings an insight into the workings of the classical studio system and the way screenwriting was organized and understood during this era. The protocols of story conferences that took place at MGM under the leadership of producer Irving Thalberg deliver an exhaustive picture of the whole process, from the first screen idea, to getting the rights for a novel, to the final discussions after the screening of a rough cut.
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Direktadressierung in fiktionalen Filmen und Fernsehserien
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... diskutiert hat, kreativen Stillstand und Sackgassen des Denkens erlebt hat, eigene Fehler und fremde Irrtümer in diesen erfundenen Welten erst übersehen und dann doch (oder auch erst am Bildschirm oder der Leinwand) aufgespürt hat,... more
... diskutiert hat, kreativen Stillstand und Sackgassen des Denkens erlebt hat, eigene Fehler und fremde Irrtümer in diesen erfundenen Welten erst übersehen und dann doch (oder auch erst am Bildschirm oder der Leinwand) aufgespürt hat, entwickelt eine nur durch Praxis sich ...
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... 134 Mehru Jaffer HINDUNATIONALISMUS, IDENTITÄT UND HINDI-BLOCKBUSTER ..... ... Die Rolle der Religion ist nicht nur Thema des Artikels von Jaffer, sondern spielt in den meisten anderen Texten eine prominente Rolle. ...
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... Als ich im Sommersemester 2004 erstmals eine Lehrveranstaltung an der Universität Wien zum Thema anbot, hatte die große Mehrheit der Studie-renden noch keinen einzigen Hindi-Film gesehen. Heute ist dies anders: Bollywood ist, wie man... more
... Als ich im Sommersemester 2004 erstmals eine Lehrveranstaltung an der Universität Wien zum Thema anbot, hatte die große Mehrheit der Studie-renden noch keinen einzigen Hindi-Film gesehen. Heute ist dies anders: Bollywood ist, wie man so sagt, in aller Munde. ...
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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to... more
Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studi...
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ABSTRACT Das erste Jahrzehnt abendfüllender Spielfilme Hollywoods steht im Mittelpunkt dieser Untersuchung. Die Analyse zeichnet ein Bild Hollywoods, das dem des klassischen Hollywood-Kinos in vielen Punkten entgegensteht. Das Buch weist... more
ABSTRACT Das erste Jahrzehnt abendfüllender Spielfilme Hollywoods steht im Mittelpunkt dieser Untersuchung. Die Analyse zeichnet ein Bild Hollywoods, das dem des klassischen Hollywood-Kinos in vielen Punkten entgegensteht. Das Buch weist nach, dass die Erzählweisen dieser Filme aus dem Kampf zwischen klassischen und melodramatischen Modellen des Erzählens entstanden und dass die dabei gefundenen Lösungen weit vielfältiger waren als bislang angenommen. Alternative Erzählweisen zum Hollywood-Kino finden sich somit in Hollywoods eigener Geschichte.
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far more differentiated. Serial queens like Pearl White and Grace Cunard are analyzed in Mark Garrett Cooper’s essay, which focuses on questions of international stardom and the actresses’ reshaping of gender roles. Breaking with... more
far more differentiated. Serial queens like Pearl White and Grace Cunard are analyzed in Mark Garrett Cooper’s essay, which focuses on questions of international stardom and the actresses’ reshaping of gender roles. Breaking with tradition, Rob King treats Roscoe ‘Fatty’ Arbuckle’s screen image without prioritizing the infamous scandal around the comedian. King’s decision to offer a culturally contextualized analysis of the type that Arbuckle represented is refreshing. The evolution of Douglas Fairbanks’ image from stage to screen is analyzed in Scott Curtis’ essay. Since many of the major stars were constructed by female screenwriters (e.g. Anita Loos for Fairbanks, Frances Marion for Mary Pickford, June Mathis for Rudolf Valentino), this issue is also discussed, though perhaps too briefly. Editor Jennifer Bean concludes the book with an essay about Chaplin, focusing on the circulation and reception of his star image. One of the difficulties inherent in an edited volume with a sweeping scope is that some stars are so well analyzed that it is difficult to find new approaches, whereas the inclusion of lesser-known stars has to be justified. In general, the volume effectively addresses the main issues related to movie stardom in the 1910s: fan culture, transand inter-textual constructions of star images; and ‘Othering,’ or ethnic stereotyping. Flickers of Desire also has the value of applying a variety of methodologies: reception studies, post-colonial approaches, gender studies and of course a cultural–historical approach viewing film through the prism of related print sources material like trade and fan papers, as well as studio documents. While established scholars will find relatively few new insights here, the volume is a valuable synthesis of current research and an ideal resource for teaching film studies courses on the silent era.
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Introductory Lecture about topics, motifs and discourses about contemporary European cinema
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kurze Einleitung zum Werk des Kameramannes Karl Freund
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The Viennese Soundscape and the role of opera Rick Altman defines soundscape as "the characteristic types of sound commonly heard in a given period or location" (Altman, Sound Theory, 252). The soundscape of Vienna at the turn of the... more
The Viennese Soundscape and the role of opera Rick Altman defines soundscape as "the characteristic types of sound commonly heard in a given period or location" (Altman, Sound Theory, 252). The soundscape of Vienna at the turn of the century was a heterogeneous one that clearly distinguished itself from those of other cities comparable in size, population etc.. This variety of sounds to be heard in the city relates specifically to the variety of cinema music during the first 30 years of film.
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Die Drehbuchforschung ist ein junges, sich rasch entwickelndes internationales Forschungsfeld. Der Sammelband führt Forschungen aus dem deutschsprachigen Raum zusammen, die sich mit dem Drehbuch als schriftliches Artefakt und als Teil des... more
Die Drehbuchforschung ist ein junges, sich rasch entwickelndes internationales Forschungsfeld. Der Sammelband führt Forschungen aus dem deutschsprachigen Raum zusammen, die sich mit dem Drehbuch als schriftliches Artefakt und als Teil des Produktionsprozesses auseinandersetzen. Neben grundlegenden theoretischen Konzepten der Drehbuchforschung stehen historische und archivbasierte Analysen sowie gegenwartsbezogene Problemstellungen im Vordergrund. Praxisnah finden außerdem Akteure und Abläufe der Drehbuchentwicklung sowie Fragen der Dramaturgie Beachtung. Der Sammelband verschafft somit einen Überblick über die Bandbreite interdisziplinärer Ansätze des Forschungsfeldes und veranschaulicht das Erkenntnispotential der aktuellen Drehbuchforschung.