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The gadgets assumed a higher profile in the 1964 film Goldfinger and the film's success encouraged further espionage equipment from Q Branch to be supplied to Bond, [58] although the increased use of technology led to an accusation that Bond was over-reliant on equipment, particularly in the later films.
These are lists of works of fiction that have been made into feature films.The title of the work and the year it was published are both followed by the work’s author and the title of the film, and the year of the film.
M is a 1931 German mystery thriller film directed by Fritz Lang and starring Peter Lorre as Hans Beckert, a serial killer who targets children, in his third screen role. Both Lang's first sound film and an early example of a procedural drama, [2] M centers on the manhunt for Beckert conducted by both the police and organized crime.
Hedwig's Theme" is the leitmotif for the film series. [4] Often labelled as the series's main theme, it first appeared in Harry Potter and the Philosopher's Stone in the track "Prologue". A concert arrangement of the same name is included in the end credits.
For some concerts conducted by Shore, images of Middle-earth by the films' concept artists Alan Lee and John Howe were projected while the music was played. [ 38 ] There are over 50 leitmotifs in the music; the symphony begins with the rising and falling "The History of the Ring" theme [ b ] with a "breathlike pattern to give the Ring a sense ...
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The use of characteristic, short, recurring motifs in orchestral music can be traced back to the early seventeenth century, such as L'Orfeo by Monteverdi.In French opera of the late eighteenth century (such as the works of Gluck, Grétry and Méhul), "reminiscence motif" can be identified, which may recur at a significant juncture in the plot to establish an association with earlier events.
Deleuze writes on the multitude of movement-images that "[a] film is never made up of a single kind of image […] Nevertheless a film, at least in its most simple characteristics, always has one type of image which is dominant […] a point of view on the whole of the film […] itself a 'reading' of the whole film". [54]