Media Collections - Off-air Television Broadcasts - The University of ...

First released: [Sydney] : Australian Broadcasting Corporation, c2006.
DVD.
Closed-captioned in English for the hearing impaired.
ERC DVD.
780.92 PLAG.
VERBOTENE KL'A'NGE [VIDEORECORDING] : MUSIK UNTER DEM HAKENKREUZ = FORBIDDEN
SOUNDS : MUSIC UNDER THE SWASTIKA / A FILM BY NORBERT BUNGE AND CHRISTINE
FISCHER-DEFOY.
Off-air recording Special Broadcasting Service 21 March 1994.
ERC VID.
780.943 VERB : VHS (Not for I.L.L).
MUSIC BEHIND THE SCENES [VIDEORECORDING] : SERIES / PRODUCER, GAVIN ALEXANDER.
Off-air recording of the ABC-TV programme broadcast 26/11/05, 03/12/50, 06/12/05,
12/12/05, 11/02/06. Copied under Part 5A of the Copyright Act 1968.
Colour recording system: PAL ; Region all.
Copyright notice: Commonwealth of Australia. Copyright Regulations. 1969.
Warning.
[disc 1] episode 1. Love -- [disc 2] episode 2. Suspense -- [disc 3] episode 3.
Heroics -- [disc 4] episode 4. Humour -- [disc 5] episode 5.The chase -- [disc
6] episode 6. The independents.
Directed by Abigail Hedderwick (1,3,5), Howard Hill (4,6) ; research, Sarah
Weatherall, Kate McKerrell ; series editor, Jason Wright.
Narrator: Leslie Felperin.
This six-part documentary examines the way music has become an integral part of
movie-making. It has become a powerful tool for directors to instantly create an
emotional shift in moods amongst the audience. Looks at specific movie genres,
illustrating points discussed with excerpts from selected films, archival clips
and footage. Includes interviews with prominent directors, their composers and
stars.
Episode one, Love, looks at how music is used in film to express love, to bring
out the tragic in it, and give a hint of sad endings. Includes selected scenes
from films like, Romeo & Juliet, Titanic, and Emma. Episode two, Suspense,
explores how music is used in film to create suspense. Episode three, 'Heroics',
analyses how and why heroes, like James Bond and Superman, are frequently
preceded on screen by the sound of their own theme tune. Compares and contrasts
scores for fictional heroic characters like James Bond, with those for real life
heroes such as Dith Parn in The Killing Fields. Examines how Eastern and Western
films have borrowed from each other's conventions of heroic music in films, such
as, Crouching Tiger. Includes interviews with amongst others, Ridley Scott, Bill
Conti, and Ang Lee. Episode four, Humour, focusses on how music can enhance a
narrative to gain the best creative effect for the movie. For example, the
conventions of slapstick humour were set with the silent films of Buster Keaton
and Charlie Chaplin, accompanied by silly sound effects of bird whistles and
drum bangs. Includes film excerpts from Beverly Hills Cop, Nurse Betty, and
others.
Episode five, The Chase examines how music is used in films to emphasise a chase
scene, illustrated with selected film scenes. Episode six, The independents, is
about the collaboration between film directors and composers, working in the
independent sector. Discusses the advantages of freedom and room for change, as
the independent film-makers are more prepared to take chances and experiment.
They are more inventive, innovative and visionary in their search for the most
expressive means to illustrate their stories. The main disadvantage for them is
budgetary constraints. In the 1960s, the younger generation of film-makers began
to make themselves felt in movies. It all started with the film, The graduate,
which features the pop sound track by Simon and Garfunkel. Then, Easy rider, a
low budget project, whose sound track album became an essential collector's item
for any self-respecting young person. Some 20 years later, 'Hip-hop' music was
used as background music against a back-drop of housing project in Brooklyn.
Many independents are now making films for studios, thereby carrying over the