Tools

LEADER 05016cam a22004334a 4500

001 ocm47002191;

003 OCoLC;

005 20141212161517.0;

008 010507s2001 ncua b 001 0 eng ;

010 a| 2001033706;

020 a| 0822328003 (cloth : alk. paper);

020 a| 082232797X (pbk. : alk. paper);

035 a| (Sirsi) o47002191;

035 a| (OCoLC)47002191;

040 a| DLCc| DLCd| YDXd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML2075b| .S68 2001;

082 00 a| 781.5/42/092| 21;

245 00 a| Soundtrack available :b| essays on film and popular music /c| edited by Pamela Robertson Wojcik and Arthur Knight.;

260 a| Durham, NC :b| Duke University Press,c| 2001.;

300 a| x, 491 pages :b| illustrations ;c| 24cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 455-473) and index.;

505 00 g| Overture /r| Arthur Knight and Pamela Robertson Wojcik --t| Cinema and popular song: the lost tradition /r| Rick Altman --t| Surreal symphonies: L'Age d'or and the discreet charms of classical music /r| Priscilla Barlow --g| "The future's not ours to see":t| song, singer, labyrinth in Hitchcock's The Man Who Knew Too Much /r| Murray Pomerance --g| "You think they call us plastic now...":t| the Monkees and Head /r| Paul B. Ramaeker --t| Real men don't sing ballads: the radio crooner in Hollywood, 1929-1933 /r| Allison McCracken --t| Flower of the asphalt: the chanteuse réaliste in 1930s French cinema /r| Kelley Conway --t| The embodied voice: song sequences and stardom in popular Hindi cinema /r| Neepa Majumdar --t| Music as ethnic marker in film: the "Jewish" case /r| Andrew P. Killick --t| Sounding the American heart: cultural politics, country music, and contemporary American film /r| Barbara Ching --t| Crossing musical borders: the soundtrack for Touch of Evil /r| Jill Leeper --t| Documented/documentary Asians: Gurinder Chadha's I'm British But... and the musical mediation of sonic and visual identities /r| Nabeel Zuberi --t| Class swings: music, race, and social mobility in Broken Strings /r| Adam Knee --t| Borrowing black masculinity: the role of Johnny Hartman in The Bridges of Madison County /r| Krin Gabbard --t| "It ain't necessarily so that it ain't necessarily so": African American recordings of Porgy and Bess as film and cultural criticism /r| Arthur Knight --t| "Hollywood has taken on a new color": the Yiddish blackface of Samuel Goldwyn's Porgy and Bess /r| Jonathan Gill --t| Picturizing American cinema: Hindi film songs and the last days of genre /r| Corey K. Creekmur --t| Popular songs and comic allusion in contemporary cinema /r| Jeff Smith --t| The girl and the phonograph, or the vamp and the machine revisited /r| Pamela Robertson Wojcik.;

520 a| From the silent era to the present day, popular music has been a key component of the film experience. Yet there has been little serious writing on film soundtracks that feature popular music. This book fills this gap, as its contributors provide detailed analyses of individual films as well as historical overviews of genres, styles of music, and approaches to film scoring. With a cross-cultural emphasis, the contributors focus on movies that use popular songs from a variety of genres, including country, bubble-gum pop, disco, classical, jazz, swing, French cabaret, and showtunes. The films discussed range from silents to musicals, from dramatic and avant-garde films to documentaries in India, France, England, Australia, and the United States. The essays examine both "nondiegetic" music in film--the score playing outside the story space, unheard by the characters, but no less a part of the scene from the perspective of the audience--and "diegetic" music?music incorporated into the shared reality of the story and the audience. They include analyses of music written and performed for films, as well as the now common practice of scoring a film with pre-existing songs. By exploring in detail how musical patterns and structures relate to filmic patterns of narration, character, editing, framing, and mise-en-scene, this volume demonstrates that pop music is a crucial element in the film experience. It also analyzes the life of the soundtrack apart from the film, tracing how popular music circulates and acquires new meanings when it becomes an official soundtrack.;

650 0 a| Motion pictures and music.=| ^A137483;

650 0 a| Motion picture musicx| History and criticism.=| ^A20620;

650 0 a| Popular musicx| History and criticism.=| ^A35070;

700 1 a| Wojcik, Pamela Robertson,d| 1964-e| editor.=| ^A512449;

700 1 a| Knight, Arthure| editor.=| ^A96619;

994 a| X0b| ERE;

910 a| PromptCat;

980 a| 2002-02-06b| 22.95d| 1.42e| 21.81f| 967745;

596 a| 3;

998 a| 868266;

999 a| ML2075 .S68 2001w| LCc| 1i| 30372011382352d| 4/17/2019e| 3/26/2008f| 4/9/2024g| 4l| MSTm| JMUSICn| 3p| $21.81q| 5r| Ys| Yt| MGESBKu| 2/19/2002x| BOOKz| MCIRCo| .STAFF. enhanced 1/30/23 -jjab;

Soundtrack available : essays on film and popular music / edited by Pamela Robertson Wojcik and Arthur Knight.

Other author	Wojcik, Pamela Robertson, 1964- editor.
Other author	Knight, Arthur editor.
Format	Book
Publication Info	Durham, NC : Duke University Press, 2001.
Description	x, 491 pages : illustrations ; 24cm
Subjects	Motion pictures and music. Motion picture music--History and criticism. Popular music--History and criticism.

Contents	Overture / Arthur Knight and Pamela Robertson Wojcik -- Cinema and popular song: the lost tradition / Rick Altman -- Surreal symphonies: L'Age d'or and the discreet charms of classical music / Priscilla Barlow -- "The future's not ours to see": song, singer, labyrinth in Hitchcock's The Man Who Knew Too Much / Murray Pomerance -- "You think they call us plastic now...": the Monkees and Head / Paul B. Ramaeker -- Real men don't sing ballads: the radio crooner in Hollywood, 1929-1933 / Allison McCracken -- Flower of the asphalt: the chanteuse réaliste in 1930s French cinema / Kelley Conway -- The embodied voice: song sequences and stardom in popular Hindi cinema / Neepa Majumdar -- Music as ethnic marker in film: the "Jewish" case / Andrew P. Killick -- Sounding the American heart: cultural politics, country music, and contemporary American film / Barbara Ching -- Crossing musical borders: the soundtrack for Touch of Evil / Jill Leeper -- Documented/documentary Asians: Gurinder Chadha's I'm British But... and the musical mediation of sonic and visual identities / Nabeel Zuberi -- Class swings: music, race, and social mobility in Broken Strings / Adam Knee -- Borrowing black masculinity: the role of Johnny Hartman in The Bridges of Madison County / Krin Gabbard -- "It ain't necessarily so that it ain't necessarily so": African American recordings of Porgy and Bess as film and cultural criticism / Arthur Knight -- "Hollywood has taken on a new color": the Yiddish blackface of Samuel Goldwyn's Porgy and Bess / Jonathan Gill -- Picturizing American cinema: Hindi film songs and the last days of genre / Corey K. Creekmur -- Popular songs and comic allusion in contemporary cinema / Jeff Smith -- The girl and the phonograph, or the vamp and the machine revisited / Pamela Robertson Wojcik.
Abstract	From the silent era to the present day, popular music has been a key component of the film experience. Yet there has been little serious writing on film soundtracks that feature popular music. This book fills this gap, as its contributors provide detailed analyses of individual films as well as historical overviews of genres, styles of music, and approaches to film scoring. With a cross-cultural emphasis, the contributors focus on movies that use popular songs from a variety of genres, including country, bubble-gum pop, disco, classical, jazz, swing, French cabaret, and showtunes. The films discussed range from silents to musicals, from dramatic and avant-garde films to documentaries in India, France, England, Australia, and the United States. The essays examine both "nondiegetic" music in film--the score playing outside the story space, unheard by the characters, but no less a part of the scene from the perspective of the audience--and "diegetic" music?music incorporated into the shared reality of the story and the audience. They include analyses of music written and performed for films, as well as the now common practice of scoring a film with pre-existing songs. By exploring in detail how musical patterns and structures relate to filmic patterns of narration, character, editing, framing, and mise-en-scene, this volume demonstrates that pop music is a crucial element in the film experience. It also analyzes the life of the soundtrack apart from the film, tracing how popular music circulates and acquires new meanings when it becomes an official soundtrack.
Bibliography note	Includes bibliographical references (pages 455-473) and index.
LCCN	2001033706
ISBN	0822328003 (cloth : alk. paper)
ISBN	082232797X (pbk. : alk. paper)

Availability

Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML2075 .S68 2001	✔ Available	Place Hold

Soundtrack available : essays on film and popular music / edited by Pamela Robertson Wojcik and Arthur Knight.

Click here for more information about this title

Availability