Steven Spielberg

LIFE Steven Spielberg – January 2022 Magazines

Posted by Shor at Jan. 14, 2022

LIFE Steven Spielberg – January 2022
English | 102 pages | True PDF | 197.4 MB

John Williams - John Williams & Steven Spielberg: The Ultimate Collection (2017) {PROPER} Music

Posted by SERTiL at June 11, 2017

Over the 90-year history of sound film, there have been a handful of instances where a director and a composer have formed a longtime partnership that resulted in a series of classical scores, creating music that stands the test of time. None, however, have been as long or as fruitful as the 43-year collaboration of Steven Spielberg and John Williams. None have encompassed such a wide range of subject matter or, more significantly, have had such an enormous impact on worldwide popular culture.

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Steven Spielberg and Duel: The Making of a Film Career eBooks & eLearning

Posted by DZ123 at Nov. 26, 2019

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Eric Kunzel And Cincinnati Pops Orchestra - The Great Movie Scores From The Films of Steven Spielberg (1999) Music

Posted by Mocha at Jan. 6, 2025

Eric Kunzel and Cincinnati Pops Orchestra - The Great Movie Scores from the Films of Steven Spielberg (1999) is a compilation album that features some of the most iconic music from Steven Spielberg's films, performed by the Cincinnati Pops Orchestra under the baton of conductor Eric Kunzel. This album is a celebration of Spielberg's collaborations with legendary composers like John Williams, Jerry Goldsmith, and others, capturing the sweeping, emotional soundtracks that have become synonymous with Spielberg's cinematic masterpieces.

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John Williams - John Williams & Steven Spielberg: The Ultimate Collection (2017) Music

Posted by SERTiL at March 16, 2017

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Abdulladzhan, or Dedicated to Steven Spielberg Movies

Posted by at Sept. 29, 2022

Abdulladzhan, or Dedicated to Steven Spielberg (1991)
Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.

Comedy Science Fiction

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