Dmitri Shostakovich: A Life in Film (KINO - Russian Filmmakers' Companions) - Softcover

'Riley performs a valuable service in illuminating a "life in film" that has been largely ignored by musicologists and by film scholars who have been reluctant to take it seriously.' - TLS "The renaissance in Russian and Soviet cinema studies continues with the appearance of two fine new books in IB Tauris's KINOfiles Filmmaker's Companions series." "these well-researched studies help to bring crucial dilemmas in Soviet cultural history into sharper focus." "Riley produces some wonderfully evocative descriptions of Shostakovich's work that show a sure grasp of musical logic and make us want to find the scores and recordings for ourselves" "analytic energy and wealth of anecdote" "excellent and highly readable" The Morning Star: "These film scores are not just incidental music but form an integral part of the direction and production of the films." "It is hoped that John Riley's excellent book will not only popularise Shostakovich's film music but also bring about a revival of interest in the films themselves..." Professor David Fanning - University of Manchester: "Thanks to John Riley we now have a much fuller picture of the tortuous fate of many of the films themselves, as well as a judicious weighing of their cinematic and musical merits. To all this the author brings not only his expertise as a film historian - drawing on Russian as well as Western sources - but also a wide-ranging musical knowledge and penetrating intelligence." - Moscow Times 'This book fills a major gap in Shostakovich commentary and has much to offer anyone interested in Soviet culture.' - David Fanning, SEER

Of all the major Soviet composers who worked in the cinema, the most prominent was Dmitri Shostakovich who, in addition to over a hundred works for the stage and concert hall, wrote scores for almost forty films. Yet despite his reputation this work, when not completely overlooked, has been poorly judged by the same criteria as his other music. Likewise, while much attention has been paid to Soviet film, the crucial role played by the scores is all too often forgotten. This, the first book in English to look at Shostakovich's cinema career, discusses every film he scored, looking at the films themselves, tracing their relationship to the changing concerns and policies of the Soviet state and examining how the music works in context. John Riley also gives a fascinating account of the composer's life. This highly readable book will be welcomed equally by devotees of the composer; those interested in Soviet culture and cinema; and general film music enthusiasts.