Outside Hollywood, national cinemas the world over have adopted and adapted film music to fit their own particular needs, sometimes emulating conventional Hollywood practice, sometimes departing from it in distinctive ways, sometimes ignoring it altogether. As compared to Hollywood, international film, historically, has been characterized by a less capital-intensive and elaborate machine for the production and distribution of film. Funding is different, relying more on government subsidies than sales, and many national cinemas have been or are protected from competition by legislation (import quotas, for instance). International directors have also been more interested in using composers from the world of art music, resulting in more stylistic diversity. In Britain, Arthur Bliss (1891-1975), Arthur Benjamin, and William Walton (1902-1983) each composed important early film scores. Most memorable are the scores for the futuristic Things to Come (1936), by Bliss; The Man Who Knew Too Much (1934), by Benjamin and containing his original composition ''The Storm Cloud Cantata'' (retained by Herrmann in his score for the remake in 1956); and several of Laurence Olivier's adaptations of Shakespeare, including Hamlet (1948) and Henry V (1944), by Walton. Benjamin Britten and Ralph Vaughn Williams (1872-1958) composed scores for British documentaries in the 1930s and 1940s, with Song of Ceylon (1934) an important example. Michael Nyman (b. 1944) scored a series of films for Peter Greenaway, including The Cook, the Thief, His Wife & Her Lover (1989), and Patrick Doyle did the same for Kenneth Branagh, including his adaptations of Henry V (1989) and Hamlet (1996).
Maurice Jaubert worked prominently in early French sound film, with Jean Vigo, René Clair (Quatorze Juillet, [July 14, 1933]), and Marcel Carné (Le Jour se leve, [Daybreak, 1939]), before his untimely death during
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