Music by František Škvor for the Karol Plicka's film The Earth Sings – the beginning of Slovak national music? : some remarks on the origin and importance by Branko Ladič

Subjects: “…film music…”
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Who Lives, Who Dies, Who Sings Which Story?: Narrative Production and Race in the Curriculum of Film Musicals by Joanna Batt, Michael Joseph

“…This critical film analysis of three film musicals, using the theoretical framework of history production, reveals themes of historical morality, romantic relationship and race, and implicit/explicit racial messaging. …”
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What Language Does the French “Musical Comedy” Speak? On Some Stylistic Experiments of the Legrand — Demy Tandem by Platonova Olesia A.

Subjects: “…french film music…”
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“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian His... by Eva Näripea

“…Still, the avoidance of the romanticism and the lack of domineering popular music instantly locates this film outside the repressive desire-creating machine and the illusions that (re)produce wishful reality. …”
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My Fair Lady Entre L’Egyptianisation Théâtrale et l’Adaptation Cinématographique by Hanane Hassan El Dibe

“…And how to get from a Bernard Shaw theatrical piece without a declaration of love, no dancing or sung scenes, a successful romantic and choreographic musical? And how has this musical been theatrically reproduced in Egyptian style so as to defy anything that seems a limit? …”
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“That’s How You Know He’s Your Love” by Maria Behrendt

“… While romantic love is a central topic in most Disney films, love duets sung by the featured couple are relatively rare and solo songs sung by the male protagonist even rarer. …”
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Close-up as a Marker of the Change of Genre Register in the Second Season of the Friends TV series by Verevkina, Darya

“…In addition, in some cases close-ups are also related to the narrative situation of a “film within a film”: They are used in soap operas, music videos, and commercials watched by the characters of the series. …”
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The Audible Life of the Image by David Wills

“…In the context of that film it is difficult to determine both what that music is and who we are, although this discussion will try to advance a hypothesis in that regard. …”
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ARCHITECTONICS OF THE SILENCE IN VERCORS’ NOVEL “THE SILENCE OF THE SEA” by Tatyana A. Pakhareva

“…It was separately considered how the film brings to the “surface” of the text Werner von Ebrennack’s fate motif, implicitly rooted in the story, as an individual embodiment of the fate of German romanticism – from Hegel and the sublime national-cultural mythology of the romantics to Nietzsche and Wagner, and later – German Expressionist cinema – and the death of romanticism, distorted and destroyed by Nazism, in the logic of the “death of the gods.” …”
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