In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience-music-the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.

Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation. Through analyses of music and sound in a wide range of iconic films from across Europe, the essays in this book provide a nuanced reconsideration of three core themes: auteur theory, art house film, and national cinema. Chapters written by an international array of contributors focus on case studies of music in the cinema of Carlos Saura, Jean-Pierre Melville, the Polish School, and Romanian directors, as well as collaborations between directors and composers, including Michelangelo Antonioni and Giovanni Fusco, Federico Fellini and Nino Rota, Leo Arnshtam and Dmitry Shostakovich, and Peter Greenaway and Michael Nyman. The contributors shift the emphasis from a director-centered view to the working relationship between director and composer, and from the visual component to the sonic aspects of these films, without ignoring the close correlation between soundtrack and visual elements. Enriching our understanding of the complex, intertwined nature of authorship in film, the role of film music, and sound, nation-state and art cinema, and European cinematic history, this volume offers a valuable addition to research across music and film studies.

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience-music-the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.

Hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, Jean-Luc Godard is a prominent pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image, but his achievements in sound have been largely overlooked. Such a lacuna in the extensive research on Godard's work is unfortunate, as Godard's lifelong preoccupation of exploring self-reflexively all aspects of filmmaking particularly affects film music. With the novel approach of metafilm music, extrapolated from Jean-Luc Godard's oeuvre, this book not only closes up a crucial gap in Godard research, but also offers detailed analyses of the music as metafilm music in Contempt, Alphaville, Band of Outsiders, Pierrot le fou, First Name: Carmen, Histoire(s) du cinema, among other films and video productions. The innovative scholarly concept of metafilm music, enriching the burgeoning field of music in audio-visual media, describes how Godard thinks about film music with film music. This book thus provides a thorough examination of Godard's self-reflexive approach to film music which has resulted in a lifelong creation of multi-layered soundtracks pushing the envelope of film music and sound to the limit.

Hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, Jean-Luc Godard is a prominent pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image, but his achievements in sound have been largely overlooked. Such a lacuna in the extensive research on Godard's work is unfortunate, as Godard's lifelong preoccupation of exploring self-reflexively all aspects of filmmaking particularly affects film music. With the novel approach of metafilm music, extrapolated from Jean-Luc Godard's oeuvre, this book not only closes up a crucial gap in Godard research, but also offers detailed analyses of the music as metafilm music in Contempt, Alphaville, Band of Outsiders, Pierrot le fou, First Name: Carmen, Histoire(s) du cinema, among other films and video productions. The innovative scholarly concept of metafilm music, enriching the burgeoning field of music in audio-visual media, describes how Godard thinks about film music with film music. This book thus provides a thorough examination of Godard's self-reflexive approach to film music which has resulted in a lifelong creation of multi-layered soundtracks pushing the envelope of film music and sound to the limit.

This book helps parents generate thoughtful dialogue, instill responsibility, and encourage independence with their kids through a variety of techniques grounded in positive character traits. Parents can influence their kids' attitudes and feelings toward making right choices not because it is advantageous, but rather because it is the right thing to do. You've probably asked your kids questions like, "How was your day?" or "What was the best thing that happened to you today?" And you've probably heard them mutter, "Fine." or "Nothing." As parents, we are always looking for ways to draw our kids into conversations to see how they are responding to the world around them. One of the keys to getting kids to talk, really talk, is to help them make the connection between their daily choices and their character. The techniques in this book can help kids develop answers to difficult situations and realize the importance of positive character traits when making day to day choices.

With Bible Scripture This book helps parents generate thoughtful dialogue, instill responsibility, and encourage independence with their kids through a variety of techniques grounded in positive character traits. Through Bible Scripture parents can influence their kids' attitudes and feelings toward making right choices not because it is advantageous, but rather because it is the right thing to do. You've probably asked your kids questions like, "How was your day?" or "What was the best thing that happened to you today?" And you've probably heard them mutter, "Fine." or "Nothing." As parents, we are always looking for ways to draw our kids into conversations to see how they are responding to the world around them. One of the keys to getting kids to talk, really talk, is to help them make the connection between their daily choices and their character. Through Bible Scripture this book can help kids develop answers to difficult situations and realize the importance of positive character traits when making day to day choices.

Diploma Thesis from the year 2000 in the subject Business economics - Business Management, Corporate Governance, University of Linz (Sozial- und Wirtschaftswissenschaften), language: English, abstract: Inhaltsangabe: Abstract: In recent years, more and more people expressed their concerns about some companies' performance. Mainly not about their financial performance, but about their social performance. About their attitude towards the environment. About the treatment of employees. Consumers, governments, environmentalists, trade unions, but also managers felt that there is a need for change in business life. The concepts of Corporate Social Responsibility (CSR) and Corporate Citizenship are seen as the way where business needs to go in the future. The basic idea of the concepts is that companies are a vital part of the society and that they cannot ignore this any longer. Business has both the power and the responsibility to behave in a way that satisfies not only shareholders, but also employees, customers, the environment, the community, and the society as a whole. In this paper I will give an overview of the new approach to business responsibility. It is an incredibly huge topic, related to many important issues. It would have been possible to write hundreds of pages about subtopics like the employee-employer relationship or environmental issues. I chose a different approach and will give a panoramic view of this fascinating and complex topic. Of course, I had to focus on some of the most important issues, but I consider a holistic approach as very important, as it shows the interrelation between business and its stakeholders. After a general introduction to the topic in Chapter 1, I will define the different areas of Corporate Social Responsibility and give a short summary of the history of CSR. Following this, I will present the reasons why the topic of socially responsible companies becomes more and more important. Chapter 4 will focus on an introduction of th