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<p class="MsoNormal"><span style=font-family:"Arial",sans-serif;color:black>Dear Colleagues,<o:p></o:p></span></p>
<p class="MsoNormal"><span style=font-family:"Arial",sans-serif;color:black>I am contracted by McFarland to edit a new collection of essays that will explore the way in which composers have been portrayed in movies.<br/>
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<o:p></o:p></span></p>
<p class="MsoNormal"><span style=color:black>Composers on Screen: an edited collection of essays.<o:p></o:p></span></p>
<p class="MsoNormal"><span style=color:black>There are good studies of the role of the composer as a contributor to the creating of the moving picture, but none that specifically explores the role of the composer as subject or principal character.<o:p></o:p></span></p>
<p class="MsoNormal"><span style=color:black>However, from the earliest years of the bio-pic, composer's lives and careers have been presented in a series of features that range from the largely fictional and frankly absurd (e.g. Wagner as seen in Magic Fire
- Dieterlie, 1955) to the intricately researched and intensely absorbing (Wagner as portrayed by Richard Burton in Tony Palmer's film of 1983).<o:p></o:p></span></p>
<p class="MsoNormal"><span style=color:black>The range is extraordinary: dating from the earliest silent composer biopics (Wagner and Verdi in 1913), and encompassing characters as diverse as Handel and Vivaldi, Chopin, Liszt, Tchaikovsky, Puccini, Beethoven,
Johan Strauss, Grieg, Dvorak - and Gilbert and Sullivan (Sidney Gilliat's treatment from 1953, contrasting vividly with Mike Leigh's in 1999).<o:p></o:p></span></p>
<p class="MsoNormal"><span style=color:black>A rich seam of directorial, acting and musical talents have been drawn to the challenges of portraying the elite world of the classical composer in the most broadly democratic entertainment medium, the cinema.<o:p></o:p></span></p>
<p class="MsoNormal" style=margin-bottom:12.0pt><span style=font-family:"Arial",sans-serif;color:black>This collection of essays will explore the principal examples of the genre by offering analysis of individual films and subjects, whilst addressing the
challenges and solutions faced and provided by the filmmakers themselves.<o:p></o:p></span></p>
<p class="MsoNormal"><span style=font-family:"Arial",sans-serif;color:black>Chapters should be of between 7,000 and 10,000 words in length.<o:p></o:p></span></p>
<p class="MsoNormal" style=margin-bottom:12.0pt><span style=font-family:"Arial",sans-serif;color:black>The submission for completed text is 1st November 2015.<o:p></o:p></span></p>
<p class="MsoNormal"><span style=font-family:"Arial",sans-serif;color:black>In the first instance, please send a brief abstract/outline to me - alternatively, I am very happy to discuss ideas.<o:p></o:p></span></p>
<p class="MsoNormal"><span style=font-family:"Arial",sans-serif;color:black>Regards,<br/>
Paul.<o:p></o:p></span></p>
<p class="MsoNormal"><span style=font-size:11.0pt;font-family:"Calibri",sans-serif;mso-fareast-language:EN-US><o:p> </o:p></span></p>
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<P class=ImprintUniqueID><FONT size=2 face="Trebuchet MS">Paul Fryer<BR/><font style='font-weight:bold;'>Assoc. Dir of Research</font></FONT></P></TD>
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<P class=ImprintUniqueID><A href="http://www.bruford.ac.uk"><FONT size=2 face="Trebuchet MS"><IMG id=IMG1 border=0 alt="Rose Bruford College" src="cid:imagea2ed65.GIF@f77efb0e.41b62066" width=136 align=middle height=164 /></FONT></A></P></TD></TR>
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<P class=ImprintUniqueID><FONT size=2 face="Trebuchet MS">Rose Bruford
College<BR/>Lamorbey Park Campus<BR/>Burnt Oak Lane<BR/>Sidcup<BR/>Kent. DA15
9DF. UK</FONT></P></TD></TR>
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