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  • Epic Sound – Music in Postwar Hollywood Biblical Films: Music in Postwar Hollywood Biblical Films

    Epic Sound – Music in Postwar Hollywood Biblical Films by Meyer, Stephen C.;

    Music in Postwar Hollywood Biblical Films

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      • Publisher's listprice GBP 26.99
      • The price is estimated because at the time of ordering we do not know what conversion rates will apply to HUF / product currency when the book arrives. In case HUF is weaker, the price increases slightly, in case HUF is stronger, the price goes lower slightly.

        12 894 Ft (12 280 Ft + 5% VAT)
      • Discount 20% (cc. 2 579 Ft off)
      • Discounted price 10 315 Ft (9 824 Ft + 5% VAT)

    12 894 Ft

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    Availability

    Estimated delivery time: In stock at the publisher, but not at Prospero's office. Delivery time approx. 3-5 weeks.
    Not in stock at Prospero.

    Why don't you give exact delivery time?

    Delivery time is estimated on our previous experiences. We give estimations only, because we order from outside Hungary, and the delivery time mainly depends on how quickly the publisher supplies the book. Faster or slower deliveries both happen, but we do our best to supply as quickly as possible.

    Product details:

    • Publisher MH – Indiana University Press
    • Date of Publication 27 November 2014
    • Number of Volumes Print PDF

    • ISBN 9780253014511
    • Binding Paperback
    • No. of pages288 pages
    • Size 228x187x16 mm
    • Weight 428 g
    • Language English
    • Illustrations 11 b&w illus., 57 music exx.
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    Long description:

    Lavish musical soundtracks contributed a special grandeur to the new widescreen, stereophonic sound movie experience of postwar biblical epics such as Samson and Delilah, Ben-Hur, and Quo Vadis. In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s.

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