Bücher von David Huckvale

Since the early days of silent film accompaniment, the piano has played an integral part in the history of cinema. By examining depictions of the piano onscreen, readers will begin to understand not only the decline of the piano but also the decline of the idealistic culture to which it gave birth in the nineteenth century.

The aesthetic of body horror has its origins in the ideas of the Marquis de Sade and the existential philosophies of Arthur Schopenhauer and Friedrich Nietzsche. This book examines the relationship between these writers and the various manifestations of body horror in film.

English actor Dirk Bogarde dominated the films in which he starred. Exploring the tension between his matinee idol appeal and his own closeted sexuality, this book focuses on the wide variety of genres in which he worked, and the highly charged interaction between his life and his roles.

Film is a kind of magic, a world of shadows and light, where anything is possible and the dead come back to life. Movie Magick explores the way in which films have been inspired by Alesiter Crowley's famous definition of ""Magick"" as ""the Science and Art of causing Change to occur in conformity with Will.

Friedrich Nietzsche regarded himself as the most musical philosopher--he played the piano, wrote his own compositions and espoused a philosophy encouraging all to dance for joy. Central to his life and his ideas were the music and personality of Richard Wagner, whom he both loved and loathed at different times of his life. Nietzsche had considerable influence on composers, many of whom employed Wagnerian sonorities to set his words and respond to his ideas. This book explores Nietzsche's relationship with Wagner, the influence of his writings on the music of Strauss, Mahler, Delius, Scriabin, Busoni and others, his place in Thomas Mann's critique of German Romantic music in the novel Doctor Faustus and his impact on 20th-century popular music.

British literature often refers to pagan and classical themes through richly detailed landscapes that suggest more than a mere backdrop of physical features. This volume analyses the evocative language and aesthetics of landscapes in literature, film, television and music, and how ""psycho-geography"" is used to explore the influence of the past on the present.

Tells how Hammer Films commissioned composers at the cutting-edge of European musical modernism to write their movie scores, introducing the avant-garde into popular culture via the enormously successful venue of horror film.

Composers give a unique and powerful voice to stories on the big screen. Those who work principally with one genre may leave a unique imprint. James Bernard was one such composer. From 1952 to the late 1990s, he was one of horror''s definitive and distinctive voices, scoring many of Hammer''s best-known films, including Dracula. This is a critical biography of James Bernard. It is also a thorough and meticulous examination of his music, including its intricate mechanisms and the many sources of Bernard''s inspiration. Movie scores examined include The Quatermass Experiment, Quatermass 2, X--The Unknown, The Curse of Frankenstein, Dracula, The Hound of the Baskervilles, The Kiss of the Vampire, She, and many others. A foreword by Ingrid Pitt, a glossary, a filmography, notes, bibliography and index complete the work.