Claus Tieber- PD Mag. Dr.
- Principal Investigator at Privatuniversität der Stadt Wien für Musik und Kunst
Claus Tieber
- PD Mag. Dr.
- Principal Investigator at Privatuniversität der Stadt Wien für Musik und Kunst
Research Project The Impact of Sound on the Screenplay
About
122
Publications
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Citations
Introduction
Film scholar, Privatdozent, research interests: narratology, screenwriting, film music, Hindi cinema, silent cinema, European cinema
http://de.wikipedia.org/wiki/Claus_Tieber
Current institution
Privatuniversität der Stadt Wien für Musik und Kunst
Current position
- Principal Investigator
Additional affiliations
March 2003 - present
April 2010 - present
Education
October 1984 - February 1992
Publications
Publications (122)
In analyzing the script development of Grand Hotel (1932, Edmund Goulding), this
article brings an insight into the workings of the classical studio system and the way
screenwriting was organized and understood during this era. The protocols of story
conferences that took place at MGM under the leadership of producer Irving Thalberg deliver
an exha...
Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production-the screenplay-has often been overlooked in the exploration of sound and music integration. Concurrently, studies on screenwriting have displayed...
This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive medi...
The roles of the members of the SIWG (Screen Idea Work Group) are mostly described by their professions. In this chapter I want to demonstrate that the division of labor is not as strict, and that screenwriters took over different tasks and used all devices of filmmaking, especially music, to tell their stories. The case at hand is that of Austrian...
Das zentrale Kennzeichen des Hindi-Films ist die Musiknummer. Abgesehen von einigen wenigen Ausnahmen gibt es keinen Hindi-Film ohne Musiknummern. Die Bedeutung dieser Filmmusik für die indische Kultur auf dem Subkontinent und in der Diaspora ist unbestritten. Ihre narrative Funktion hingegen wird weitgehend übersehen oder geleugnet: Die Musiknumme...
This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what...
This introduction lays out the focus of the book on moments in film when ‘unheard melodies’ become heard and meaningful. These filmic instances where music ‘takes over’ and the surreal often becomes the accepted filmic reality are examined in reference to two recent theoretical approaches: ‘musical moments’ (Amy Herzog) and ‘crystal songs’ (Phil Po...
Diegetic music and musical performances did not start with the sound film in the late 1920s. Looking at musical moments in Austrian and German films, this chapter examines their sources in silent cinema. Two case studies, Seine Hoheit, der Eintänzer and Ein Walzertraum , provide evidence for two interrelated tendencies within musical numbers in sil...
Der Band "Sound Design" widmet sich dem Thema Klang und Geräusch im Film aus einer musik- und medienwissenschaftlichen Perspektive und fokussiert die Schnittstellen und Überschneidungen der Ton-Ebenen. Im Mittelpunkt stehen die narrativen und ästhetischen Möglichkeiten der Kontrolle, Verzahnung und Grenzverwischung von Geräuschen, Musik und Sprache...
Die Drehbuchforschung ist ein junges, sich rasch entwickelndes internationales Forschungsfeld. Der Sammelband führt Forschungen aus dem deutschsprachigen Raum zusammen, die sich mit dem Drehbuch als schriftliches Artefakt und als Teil des Produktionsprozesses auseinandersetzen. Neben grundlegenden theoretischen Konzepten der Drehbuchforschung stehe...
This is an abridged and partially elaborated version of a roundtable discussion that took place via Zoom on 17 September 2021 as part of the SRN2021 Research Seminar Series Online and of a follow-up session held via Zoom on 15 November 2021. In keeping with the theme of SRN2021 , ‘Pushing Boundaries’, this discussion was an opportunity to raise a f...
The script development of Hitchcock's and Ben Hecht's Notorious
Review of: The Notorious Ben Hecht: Iconoclastic Writer and Militant Zionist , Julien Gorbach (2019)
West Lafayette, IN: Purdue University Press, 504 pp.,
ISBN 978-1-55753-865-9, h/bk, $32.95
Ben Hecht: Fighting Words, Moving Pictures (Jewish Lives) , Adina Hoffman (2019)
New Haven, CT: Yale University Press, 264 pp.,
ISBN 978-0-30018-042-8, h/bk,...
Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austr...
Martin Marks holds an almost unique position to talk about silent film music: he is a scholarly musician and musical scholar. Besides his canonical book on the history of silent film music (1997), he has been playing piano accompaniments for silent films regularly for nearly four decades. In this interview we asked Martin about the challenges and c...
Filmmusik ist Teil des Soundtracks eines Films. Insofern ist das Verhältnis von Musik zu den anderen Elementen – Geräusche und Sprache – eine der ersten Bestimmungen jeder Analyse von Filmmusik. Filmmusik wird verstanden als Musik im Film, nicht ausschließlich als Musik für den Film. Das Kapitel gibt eine Übersicht über die wichtigsten Aspekte der...
Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of interte...
book review in: MEDIENwissenschaft: Rezensionen | Reviews, Jg. 36 (2019), Nr. 4, S. 404–406. DOI: http://dx.doi.org/10.25969/mediarep/13061.
Academy Award-winning Austrian screenwriter Walter Reisch’s (1903–83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mytholog...
Claus Tieber [rezens.tfm] 2018/2 Diese Rezension ist erschienen in [rezens.tfm] 2018/2; Veröffentlichungsdatum: 2018-11-15.
Over the last few years, sound and music practices during the silent
film period have received an increasing attention from the academic
community, both in film studies and musicology. The emergence of
interdisciplinary networks, such as “The Sounds of Early Cinema in
Britain” (Brown and Davison 2013) and the “Cabiria Research
Project” in Italy (Co...
Book review of Phil Powrie: Music in Contemporary French Cinema
Song-and-dance numbers are no invention of the sound film. In an ongoing project I am examining such numbers in Austrian silent cinema, which contains a significant amount of musical performances in fictional films. This article opens with an overview of the different modes of including songs in Austrian silent cinema, followed by a historical cont...
Review of Scott Loren, Jörg Metelmann (Hg.): Melodrama After the Tears. New Perspectives on the Politics of Victimhood.
Report about the 9th annual SRN conference: Screenwriting: Between artistic freedom and norms’, at Leeds Beckett University/University of Leeds, UK, 8–10 September 2016
Filmmusik ist Teil des Soundtracks eines Films. Insofern ist das Verhältnis von Musik zu den anderen Elementen – Geräusche und Sprache – eine der ersten Bestimmungen jeder Analyse von Filmmusik. Filmmusik wird verstanden als Musik im Film, nicht ausschließlich als Musik für den Film. Das Kapitel gibt eine Übersicht über die wichtigsten Aspekte der...
http://mediacommons.futureofthebook.org/question/what-elements-do-you-believe-motivate-reaction-fan-culture-and-how-do-they-relate-recent--1
History of cinema music in Vienna and Austrian music films 1896 - 1918
Jens Eder, Die Figur im Film. Grundlagen der Figurenanalyse. Marburg: Schüren Verlag 2008. 832 S. Fadenheftung, einige Abb. ISBN 978-3-89472-488-7. Preis: € 58,-. Rezensiert von: Claus Tieber
Overview about the research project The Austrian Music Film 1912 - 1933. The projecs surveys musical numbers in silent and early sound films.
Der Jazz und seine filmischen Repräsentationsformen sind nicht auf einige wenige Klischees reduzierbar und eben deshalb ein "weites Land".
Zwar ist Jazz im fiktionalen Film wie in der filmwissenschaftlichen Forschung eher ein randständiges Thema, so erweitert sich das Feld wenn man einerseits die vielfältigen audio-visuellen Formate in Betracht zi...
Book review of Julie Brown's and Annette Davidson's edited volumne about music in British silent cinema.
Overview about the field of screenwriting research a.k.a. Screenwriting studies. Covers the history, theory and practice of academic research about screenwriting for audio-visual media.
In this paper I want to give a glimpse into an important era of Indian screenwriting and into the work of two of the most important Indian screenwriters, but also to look after the circumstances in society, culture and film production that are influencing the way a film tells its story – not only in India.
Analysis of the shift in male star images in Hindi cinema.
Continuing the endeavors for more detailed and nationally diverse studies
of “silent” film sound, this article explores the deployment of the singing voice
in Vienna’s movie theaters, discussing the city’s specific preconditions for cinema
sound and the resulting proliferation of vocal performances in film exhibition focusing
on the years 1913 to 1...
Essay on the meanings and functions of improvisation in jazz and film
http://lit-verlag.de/isbn/3-643-50614-6
Edited volumne on the manifold relations between jazz and film.
This comment, entitled Wünsche eines Kino-Stammgastes (desires of a movie theater patron) and printed in an Austrian trade paper in 1915, aptly describes a number of issues related to the musical repertoire heard in Vienna’s cinemas: exorbitant waltzes and marches, interspersed by opera and operetta arias, Wienerlieder
z
and pieces from the ‘classi...
Paraphrasing the title of Friedrich Nietzsche’s famous book The Birth of Tragedy from the Spirit of Music has been tempting enough to call an introduction to a book about silent cinema music ‘The Birth of Cinema from the Spirit of Music’. Music’s ability to attract broad and varied audiences, to evoke emotions and to fulfill narrative and structura...
The Sounds of Silent Films comprises up-to-date research on silent film sound, providing a particular focus on historical performance practices combined with detailed theoretical case studies. The contributions by eminent scholars in the fields of musicology, film studies and media studies, as well as by curators and archivists, explore crucial not...
Rezension zu: Bronfen, Elisabeth; Grob, Norbert (Hrsg.): Classical Hollywood. Stuttgart 2013, in: H-Soz-u-Kult, 07.08.2014, <http://hsozkult.geschichte.hu-berlin.de/rezensionen/2014-3-094>.
Review of MacDonalds recent book.
http://rezenstfm.univie.ac.at/rezens.php?action=rezension&rez_id=297
In analyzing the script development of Grand Hotel (1932, Edmund Goulding), this article brings an insight into the workings of the classical studio system and the way screenwriting was organized and understood during this era. The protocols of story conferences that took place at MGM under the leadership of producer Irving Thalberg deliver an exha...
http://www.tandfonline.com/doi/abs/10.1080/01439685.2014.914662?tab=permissions#tabModule
http://www.tandfonline.com/doi/full/10.1080/01439685.2014.914661#.U4gO5C-8JDs
Mary Pickford’s star image consists of her on-screen persona of “little Mary” and her off-screen image as Mary Pickford, the successful actress and businesswomen, co-fonder of United Artists. Both parts of her image, the sentimental, Victorian, female ideal and the modern woman of the 1910s and 1920s were to a large part written by Frances Marion....
http://rezenstfm.univie.ac.at/rezens.php?action=rezension&rez_id=280
Die Analyse von Musik und Ton in Wiener Kinos der Stummfilmzeit (und an anderen Orten, an denen Filme gezeigt wurden) muss sich zwangsläufig auf Aufführungspraxen konzentrieren und nicht auf einzelne Filme. Derselbe Film klang in den Kinos der Stadt unterschiedlich, er klang in anderen Städten und Ländern erst recht ganz anders.
Einleitung von Anna Katharina Windisch. Silent Film Music: A Working Bibliography complied by Hans Jürgen Wulff und Claus Tieber
Screenwriting manuals There is hardly a field in the film production process where one can find more literature on than screenwriting. As a film scholar and a film historian I am interested in the question whether these manual are able to deliver insights for film studies and if so how should they be read, treated and contextualized? I am not conce...
The Viennese Soundscape and the role of opera Rick Altman defines soundscape as "the characteristic types of sound commonly heard in a given period or location" (Altman, Sound Theory, 252). The soundscape of Vienna at the turn of the century was a heterogeneous one that clearly distinguished itself from those of other cities comparable in size, pop...
Filmmusikforschung ist ein relativ neues filmwissenschaftliches Forschungsgebiet. Der Band vereint Artikel, die in ihrer thematischen Offenheit und Verschiedenartigkeit die Weite des Feldes abstecken.
Das erste Jahrzehnt abendfüllender Spielfilme Hollywoods steht im Mittelpunkt dieser Untersuchung. Die Analyse zeichnet ein Bild Hollywoods, das dem des klassischen Hollywood-Kinos in vielen Punkten entgegensteht. Das Buch weist nach, dass die Erzählweisen dieser Filme aus dem Kampf zwischen klassischen und melodramatischen Modellen des Erzählens e...
Film music research is a relatively young and interdiscioplinary field. This article survey thes state of research as well of the history of it.
Survey about the recent state of Film Music research.
Questions
Questions (22)
The current Corona crisis led to the cancellation of conferences until fall this year. We also learn how to communicate via skype, zoom, etc. and how to teach online. We will also find ways to held conferences this way. This developement even started before the crisis, but will academia make the case for less conferences (also to be seen in the context of the climate crisis)?
With all the uncertainties around the Brexit, does it still make sense to apply for an academic job in the UK for an EU citizen or not? What is expected to happen after the Brexit?
End of semester, grading starts. I don't know any colleague who likes this part of the job. Why do we grade students? Why do we get them marks them with letters or numbers?
Don't get me wrong: feedback is essential, and we should permanently improvise our modes of feedback, but a single 1 or 2, an A or B tells little about the actual quality of a student's assignment.
In order to improve own's teaching it is essental to get constructive feedback, The only form this feedback is organized and instituionalized (at the moment at least) is student's evaluation with the forms we all know. We also know now from several studies and from a lot of important research that student's evaluation are heavily flawed. There is a gender and race bias, to mention only one of the biggest problems with it. How can we improve the feedback to our teaching and how shall we deal with student's evaluation, knowing its problems?
