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Sujet du devoir
bonjour et merci pour votre aideje dois parler de la bande originale ( générique) du film star wars ,
avez vous des idées ? c'est en histoire des arts pour le brevet
Où j'en suis dans mon devoir
le film est du metteur en scène georges lucas la musique de john williams , l'orchestre est symphonique - voilà j'en suis là3 commentaires pour ce devoir
http://www.cadrage.net/films/lucas2005.htm
3° paragraphe de "L’art de la charnière".
Et:
http://dossiers.anakinweb.com/musiques-star-wars-episode-iii-revenge-of-the-sith-f57-1.html
si c'est l'épisode dont tu as besoin.
Bonne soirée.
3° paragraphe de "L’art de la charnière".
Et:
http://dossiers.anakinweb.com/musiques-star-wars-episode-iii-revenge-of-the-sith-f57-1.html
si c'est l'épisode dont tu as besoin.
Bonne soirée.
Influencée par Gustav Holst et Richard Strauss.
C'est en anglais mais si tu le traduis sur reverso, tu peux avoir quelques idées
The music of Star Wars consists of the scores written for all six Star Wars films by composer John Williams from 1977 to 1983 for the Original Trilogy, and 1999 to 2005 for the Prequel Trilogy. It includes the Star Wars: The Clone Wars music written by Kevin Kiner. More broadly, it also refers to any music that is used to depict the larger Star Wars Universe, which would include music for Star Wars video games and other media. John Williams' scores for the double trilogy count among the most widely known and popular contributions to modern film music.
The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner. While several obvious nods to Gustav Holst, William Walton and Igor Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, Lucas maintains much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
Star Wars often is credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. One technique in particular is an influence: Williams's revival of a technique called "leitmotiv", which is most famously associated with the operas of Richard Wagner and, in film scores, with Steiner. A "leitmotif" is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It commonly is used in modern film scoring, as a device mentally to anchor certain parts of a film to the soundtrack. Of chief importance for a "leitmotif" is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.
C'est en anglais mais si tu le traduis sur reverso, tu peux avoir quelques idées
The music of Star Wars consists of the scores written for all six Star Wars films by composer John Williams from 1977 to 1983 for the Original Trilogy, and 1999 to 2005 for the Prequel Trilogy. It includes the Star Wars: The Clone Wars music written by Kevin Kiner. More broadly, it also refers to any music that is used to depict the larger Star Wars Universe, which would include music for Star Wars video games and other media. John Williams' scores for the double trilogy count among the most widely known and popular contributions to modern film music.
The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner. While several obvious nods to Gustav Holst, William Walton and Igor Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, Lucas maintains much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
Star Wars often is credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. One technique in particular is an influence: Williams's revival of a technique called "leitmotiv", which is most famously associated with the operas of Richard Wagner and, in film scores, with Steiner. A "leitmotif" is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It commonly is used in modern film scoring, as a device mentally to anchor certain parts of a film to the soundtrack. Of chief importance for a "leitmotif" is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.
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Celà se caractérise dans deux parties :
-Art, espace, temps
-Art visuel (cinema)
::Technique ::
Réalisation : Geaorge Lucas
Scénario : George Lucas, Jonathan Hales
Musique : John Williams
Production : George Lucas - Rick McCallum pour Lucasfilm Ltd.
Pays d'origine : Etats-Unis
Genre : Space fantasy
Budget : 120 000 000 $
C'est ce que j'ai vue que avec ma classe nous avons fait une fiche d'histoire des Arts pour Star Wars, l'attaque des clones .
J'ai d'autres informations mais qui concernent la biographie de l'auteur et la distribution, si tu en as besoin fais moi en signe ;)