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Luigi Caiola製作 館藏地 總館數位媒體室
臺北市 : 新力博德曼, 2007[民96] 索書號 DO 913.68 8574
  條碼 AV006824
   

 

Enrico De Melis製 		館藏地 總館數位媒體室
臺北市 : 科藝百代, 1993[民82] 索書號 DO 913.68 8875
  條碼 AV006825
   

 

新天堂樂園電影原聲帶

館藏地 總館數位媒體室
臺北市 : 極光音樂, 1988[民77] 索書號 DO 913.68 8875-3
  條碼 AV006823
   

 

教會電影原聲帶
館藏地 總館數位媒體室
臺北市 : 科藝百代, 1986[民75] 索書號 DO 913.68 8875-2
  條碼 AV006822
   

 

新天堂樂園 / 朱賽貝、納多雷(Giuseppe Tornatore)導演
杜蘭陶瑞 (Tornatore, Giuseppe) 導演 館藏地 總館數位媒體室
臺北市 : 太古國際, 2005[民94] 索書號 VD 987.83 8485
  條碼 AV005961
   

 

新天堂樂園
   
臺北市:春暈國際    
     
   

 

四海兄弟
   
台北市:華納兄弟    
     
   

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netLibrary

by Roberts, Graham.; Wallis, Heather.    
Publication: New York Edward Arnold Ltd., 2002.    
Summary
Ennio Morricone's collaborations with Sergio Leone represent, of course, only a minuscule portion of his overall career as a film composer. In Italy alone Morricone has also had important collaborations with such directors as Bernardo Bertolucci, Pier Paolo Pasolini, and Marco Bellocchio. In the United States he has recently scored two films for Brian De Palma, the 1987 The Untouchables and the 1989 Casualties of War. But to close this discussion

 
by Karlin, Fred.; Wright, Rayburn.    
Publication: New York Taylor & Francis Routledge, 2004.    
Summary
Despite the breakup of the studio music staffs in the midfifties, this system of sketching continued for many composers. There were exceptions: a few composers insisted from the beginning on orchestrating their own music, the most prominent of whom in the United States was Bernard Herrmann (who was not part of the staff system at that time). In Europe, Italian composer Ennio Morricone has always orchestrated his own scores, believing that orchestration is such an integral part of the composition process that it should not and cannot successfully be assigned to another person. Of course, if the composer writes a melody and indicates it is to be played by an ocarina, then the orchestrator will assign that line to a solo ocarina, thereby fulfilling the composer's orchestrational intentions. So a lot depends upon the degree of detail indicated by a composer's sketches.

 
by Hughes, Howard.    
Publication: London I.B. Tauris, 2004.    
Summary
Of all the film's accomplishments, the most innovative was the soundtrack and Ennio Morricone's groundbreaking composition is still popular today. In 1965 it won the Italian Film Journalists' Silver Ribbon for 『Best Score'. Morricone had been at school with Leone (at the Institute of Saint Juan Baptiste de la Salle) and became a pop-song arranger in the early sixties, having graduated from the Santa Cecilia Conservatory in Rome. Morricone maintains that he drifted into filmscoring:『I thought a filmmaker must call me because he thinks what I write is fine…so it happened that a director called me, then another, and another'. He scored some of the earliest spaghettis, including Gunfight in the Red Sands (1963) and Pistols Don't Argue (1964), but Leone wasn't keen on Morricone's previous scores. Morricone had prepared an arrangement of Woody Guthrie's folk song 『Pastures of Plenty' (『To pastures of plenty, from dry desert ground. We come with the dust and are gone – with the wind') with Peter Tevis on vocals. Leone liked this
much better. The arrangement used a variety of whip-cracks (like Frankie Laine's title songs to Rawhide and Bullwhip) and electric guitar lines, strung along a repetitive acoustic guitar riff. Morricone removed Tevis's vocals and rearranged the piece in collaboration with Leone. Fistful's main theme is structured like a pop song. A whistler takes the 『verse' melody, while a guitar leads the 『chorus'.

 
by Wayne, Mike.    
Publication: London, Sterling, Va Pluto Press, 2001.    
Summary
Robert Stam and Louise Spence describe The Battle of Algiers as a 『Third World' film (1985), the key creative positions in the
production of the film were occupied by Italians. Pontecorvo also co-wrote the script with Franco Solinas and collaborated with Ennio Morricone on the music track. It makes more sense then to locate The Battle of Algiers as a European film about the Third World. This does not of course determine its location within our three categories of cinema. Conversely, if the film were more authentically Algerian, it would not automatically qualify as Third Cinema, since (it is worth restating) Third Cinema and Third World Cinema are not the same thing. Is geography irrelevant then? Not quite. Locating The Battle of Algiers geographically as European does give us some indication of the cultural influences on the film. From the perspective of Third Cinema, the task of the filmmaker is to be adequately cognisant of the politics of those cultural influences and be ready, if necessary, to rework them.

THE BATTLE OF ALGIERS: THE CRITICAL

 
by Insdorf, Annette.    
Publication: Cambridge, New York Cambridge University Press, 2003.
Summary
It is unfortunate that Gillo Pontecorvo did not think along these lines when he made Kapo. This Italian/French coproduction released in 1960 offers not only an American star, Susan Strasberg (who had originated the role of Anne Frank on Broadway), but a musical score that seems American in its conception: like that of The Diary of Anne Frank and Judgment at Nuremberg, it is relentless and often maudlin. For example, the heroine screaming at the sight of naked people being marched off to the gas chamber – an already horrifying image – is cheapened by the accompaniment of hysterical music. As well as directing, Pontecorvo also collaborated with Carlo Rustichelli on the score with far less impressive results than in his later masterpiece, The Battle of Algiers (where he worked with Ennio Morricone). In Kapo, we see the transformation of a delicate Parisian adolescent, Edith (Strasberg), into Nicole,
a hardened concentration camp prisoner put in charge of other inmates. She is introduced playing the harpsichord – a musical connection that will be repeated throughout the film: whenever the past is invoked, the sentimental harpsichord theme returns.

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eBrary

 
Contributor: Carlson, Michael R. Date: 2001
Publisher: Pocket Essentials
Summary
Morricone delighted in amplifying the rituals of gunfights. In For A Few Dollars More he is at his most audacious. Having already
established a link between Indio?s watch music and a church organ, he then adds, for the ultimate shoot-out, in quick succession, trumpet, guitar and carillon, giving the deguello, already a standard of Westerns, a whole new life.

 
Contributor: Hughes, Howard Date: 2001
Publisher: Pocket EssentialsPublisher: Pocket Essentials
Summary
In Eastwood, Leone found the perfect hero-figure for his Western fantasies. Eastwood, as ?The Man With No Name?, looked like no other Western hero who had preceded him. He wore a Mexican poncho, permanently smoked cigars, rode a mule and his ruthless speed with a gun made him the fastest man around. He is the ultimate cool gunfighter, who rides into a town run by two rival gangs and makes a killing out of the conflict of interests by hiring himself as a mercenary to each side in turn. The villains were played by Italian, Spanish and West German actors, the supporting cast came from as far afield as Austria and America - a truly cosmopolitan production. To hide this from European audiences, cast and crew often used American-sounding pseudonyms. The music was written by Italian Ennio Morricone, who conceived a strange echoing backdrop to
the desolate action - all whip cracks, whistles, electric guitars and trumpet flourishes. If the dialogue in A Fistful Of Dollars was sparse, Leone intended Morricone?s music to fill in the emotional gaps in a bizarre variation of Robert Browning?s famous quote: ?Who hears music feels his solitude peopled at once.? Judging by the number of lone heroes that
followed in Eastwood?s wake, it?s lucky Morricone?s music was around to keep them company.

 
Contributor: Thomson, Eoin Scott Date: 2001
Publisher: McGill-Queen's University Press
Summary
We should not pass too quickly over the relationship between music,writing, and the return to origins as one of the hallmarks of a Romantic desire for unity. In an interview with Ennio Morricone, undoubtedly one of the greatest composers of the twentieth century, in which Morricone is asked to reflect upon the composition of the music for Roland Joffe's film TheMission, Morricone has these important words to say: [The Mission} is set in South America, in 1750. The Jesuits had gone toAmerica to spread Christianity. But they also brought their musical experience and their liturgy. The music of the Post-Renaissance. The theme that I wrote wasconditioned by Jeremy Irons' fingers on the oboe; the native music and Western
music taught by theJesuits had to be combined into a whole. The union ofthese elements is very important. In them I see myself, spiritually and technically. These three ideas, unified in one idea clearly symbolize a new spirituality. These
two spiritual forces [that is, Jeremy Irons and Robert De Niro, the latter a converted slave herder] are very different but find a way of communicating. And finally they dietogether - theultimate sacrifice.

 
Contributor: Santoro, Gene Date: 1995
Publisher: Oxford University Press, Incorporated
Summary
If you keep those emphases in mind, it's clearly no accident that Zorn's recordings like The Big Gundown and Spillane spend their time at the movies and on TV. The first LP collects key players on the East Village scene? guitarists Robert Quine, Jody Harris, Bill Frisell, Vernon Reid, Fred Frith, and Arto Lindsay, turntable mixer Christian Marclay, altoist Tim Berne, accordionist Guy Klucevsek, bassist Melvin Gibbs, keyboardists Anthony Coleman and Wayne Horvitz, and percussionists Bobby Previte and Anton Fier among them? for brash and witty reworkings of music by spaghetti-Western scorer Ennio Morricone. Zorn takes the Italian's brooding, twangy atmospherics, themselves witty reworkings of Duane Eddy and the Ventures, and skews them into scorching surrealism, redistributing the voicings of the original charts over utterly different instruments and players to produce wild, apocalyptic renditions that refract? Zorn calls them "recompositions"? the stillrecognizable
material. If the album's working title was Once Upon a Time in the East Village, it's because the jagged atonal bursts of noise alternating with moodier, more melodic feels capture what Morricone might have written had he been exiled to these margins rather than the Leone-imagined Wild West.

 
Contributors: Plisetskaya, Maya; Bouis, Antonina W. Date: 2006
Publisher: Yale University Press
Summary
To some extent, this sound had already been developed in the 1960s by Ennio Morricone at Italy's RCA Studios. For Navajo Joe (1966), Morricone combined voice and twangy electric guitar (as for his ??spaghetti Westerns??) with skin-head drum and an ambient mix to convey an impression of the West?s open spaces. This sound was almost a clich?by the time of Powwow Highway (1988), a film popular in some parts of the Indian community for its approach to native bonding and to confronting societal stereotypes. This film presented important musical images of native America not just by including portions of an actual powwow filmed at the Pine Ridge Reservation but also because of Barry Goldberg?s blend of synthesized and acoustic music, used to convey the transformation of the (actual) Indian protagonist. Gary Farmer (Cayuga) plays Philbert Bono, a character in search of his Cheyenne roots who embarks on an urgent mission to bring a friend to New Mexico but instead makes a detour to find Sweet Butte in the Black Hills, a holy place where generations ago? we learn in the film if we did not know it already? Light

 
Contributor: MacFadyen, David Date: 2003
Publisher: McGill-Queen's University Press
Summary
This hidden uniqueness, which Sovietese has trouble expressing, is emotional and often - as we are beginning to see - supported by music. Riazanov?s most faithful composer of instrumental and incidental music has been the Petersburg artist Andrei Petrov. Petrov?s simple, pleasant melodies, reminiscent of composers such as Burt Bacharach or Ennio Morricone, have been termed music ?for the soul? (dliadushi) by one critic. His euphony ?radiates with the warmth of trusting sociability ... it creates the type of atmosphere in which we can all (well, almost all of us) look at one another with a smile of understanding." 25 Social cohesion orchestrates and comes from difference and multiplicity. Music by Petrov and by Riazanov?s other key composer, the late Mika Tariverdiev, also uses that kindly philosophy to ?protest against standardization ? in the domains of life, thought, and feelings.? 26 Harmonies serve the same purpose as generic mixing: both aim to demonstrate the wholeness of multiplicity, a state beyond standardization and grand ideology. They do so through sadness: ?I make humorous films,? said the director. "But I want those humorous films to be accompanied by sad music." Sad music scripts films of sociable, heartening expectation.

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