Musical Modernism and German Cinema from 1913 to 1933

9783319582610The English-language monograph Musical Modernism and German Cinema from 1913 to 1933 has been published in the book series “Film and Television Studies” by Palgrave Macmillan, UK.

“Finocchiaro’s study delivers compelling insights into the relationship between Musical Modernism and German silent and early sound cinema. Approaching cinema from the vantage point of its engagement with modernist composers manages to move beyond the boundaries between “high” and “low” art, opening up the wider field of the cultural status of cinema in relation to coexisting art forms at a crucial historical moment.” (Anna K. Windisch, University of Salzburg, Austria. Co-Editor of The Sounds of Silent Films. New Perspectives on History, Theory and Practice, 2014)

Francesco Finocchiaro, Musical Modernism and German Cinema from 1913 to 1933, Basingstoke, Palgrave Macmillan, 2017.

International Music Theory Conference 2017

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“During the silent era, as known, the accompaniment music for film projections was in an extremely precarious state. Nevertheless, film theory assigned to music an essential role, often describing the ‘tenth Muse’ as a daughter of the more ancient and noble ‘art of sounds.’ The idea of an ‘elective affinity’ between music and cinema found a theoretical systematization within the writings by Georg Otto Stindt (1924), Béla Balázs (1924), and Hans Erdmann (1927), who identified the rhythmic dimension as the trait d’union between these two forms of art.”

Francesco Finocchiaro, “Im Anfang war der Rhythmus”. Aesthetic Abstractions in the Film Music Composition of the 1920s, 17th International Music Theory Conference, Lithuanian Academy of Music and Theatre, Vilnius, November 8–10, 2017.

Transnational Opera Studies Conference 2017

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The FMJ research project has been represented at the recent Transnational Opera Studies Conference in Bern, on July 5-7, 2017.
Dr. Francesco Finocchiaro reported on ‘Cinema and Musical Theatre in the Weimar Republic’, elaborating on Kurt Weill’s Royal Palace and Alban Berg’s Lulu as two paradigmatic instances of medial combination.
The paper focused on dramaturgical and aesthetical issues related to the cross-pollination between old and new medial languages in the Weimar era theatre.

F. Finocchiaro, Cinema and Musical Theatre in the Weimar Republic: Two Case Studies, 2nd Transnational Opera Studies Conference, Bern, July 5-7, 2017

Tim Brock’s original score for ‘Steamboat Bill Jr.’

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Timothy Brock’s original score for the film Steamboat Bill Jr. by Buster Keaton and Charles Reisner (USA, 1928) has been presented at the Festival ‘Il Cinema Ritrovato’ in Bologna, on June 30th. The work is a true masterpiece, one of the most brilliant and fruitful examples of classic silent film rescored.
Brock’s score can be referred to as an inventory of irony in music: a well-studied balance of humor and melancholy that perfectly sums up the spirit of this film and, more in general, the genius of Buster Keaton.

Francesco Finocchiaro, Il genio di Buster Keaton e il fenomeno Timothy Brock, “Amadeus”, 3 luglio 2017

‘Potemkin’ at Il Cinema Ritrovato

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On the centenary of the October Revolution, the Festival “Il Cinema Ritrovato” (Bologna, June 24 – July 2, 2017) dedicated a special focus to the director of the Revolution par excellence, the great Russian filmmaker Sergei Eisenstein, and his celebrated masterpiece, Bronenosets Potemkin (Battleship Potemkin, 1925).

Francesco Finocchiaro, Un Potëmkin in chiaroscuro al Festival del Cinema Ritrovato di Bologna, “Amadeus”, 1° luglio 2017