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Stars and Masculinities in Contemporary Italian Cinema

Author: C. O'Rawe

Publisher: Palgrave Macmillan

Published: 2014-06-18

Total Pages: 0

ISBN-13: 9781137381460

Stars and Masculinities in Contemporary Italian Cinema is the first book to explore contemporary male stars and cinematic constructions of masculinity in Italy. Uniting star analysis with a detailed consideration of the masculinities that are dominating current Italian cinema, the study addresses the supposed crisis of masculinity.

No Future

Author: Matthew Worley

Publisher: Cambridge University Press

Published: 2017-09-21

Total Pages: 419

ISBN-13: 1107176891

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An innovative history of British youth culture during the 1970s and 1980s, charting the full spectrum of punk's cultural development.

Popular Music Studies

Author: David Hesmondhalgh

Publisher: Hodder Education

Published: 2002

Total Pages: 272

ISBN-13: 9780340762479

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The study of popular music has reached an exciting and important moment in its development. Popular Music Studies introduces students to the most significant debates in the field, offering fresh perspectives and suggesting new directions. Genuinely interdisciplinary on scope, the book outlines the history and development of popular music studies while offering and unprecedentedly international perspective on popular music, featuring writers from North and South America, Europe, Japan, Australia, New Zealand, and South Africa. Combining insights from media and cultural studies, sociology, music analysis, ethnomusicology, and performance studies, the essays cover textual analysis, place and space, production, consumption, and everyday life.

Unsettled Scores

Author: Sally Bick

Publisher: University of Illinois Press

Published: 2019-12-20

Total Pages: 229

ISBN-13: 025205167X

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The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America's potent mass culture. Drawn by Hollywood's potential to reach—and edify—the public, Copland and Eisler expertly wove sophisticated musical ideas into Hollywood and, each in their own distinctive way, left an indelible mark on movie history. Sally Bick's dual study of Copland and Eisler pairs interpretations of their writings on film composing with a close examination of their first Hollywood projects: Copland's music for Of Mice and Men and Eisler's score for Hangmen Also Die! Bick illuminates the different ways the composers treated a film score as means of expressing their political ideas on society, capitalism, and the human condition. She also delves into Copland's and Eisler's often conflicted attempts to adapt their music to fit Hollywood's commercial demands, an enterprise that took place even as they wrote hostile critiques of the film industry.

One Chord Wonders

Author: Dave Laing

Publisher: PM Press

Published: 2015-05-01

Total Pages: 199

ISBN-13: 1629630578

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Originally published in 1985, One Chord Wonders was the first full-length study of the glory years of British punk rock. The book argues that one of punk’s most significant political achievements was to expose the operations of power in the British entertainment industries as they were thrown into confusion by the sound and the fury of musicians and fans. Through a detailed examination of the conditions under which punk emerged and then declined, Dave Laing develops a view of the music as both complex and contradictory. Special attention is paid to the relationship between punk and the music industry of the late 1970s, in particular the political economy of the independent record companies through which much of punk was distributed. The rise of punk is also linked to the febrile political atmosphere of Britain in the mid-1970s. Using examples from a wide range of bands, individual chapters use the techniques of semiology to consider the radical approach to naming in punk (from Johnny Rotten to Poly Styrene), the instrumental and vocal sound of the music, and its visual images. Another section analyses the influence of British punk in Europe prior to the music’s division into “real punk” and “post-punk” genres. The concluding chapter critically examines various theoretical explanations of the punk phenomenon, including the class origins of its protagonists and the influential view that punk represented the latest in a line of British youth “subcultures.” There is also a chronology of the punk era, plus discographies and a bibliography.

Popular Music and the New Auteur

Author: Arved Ashby

Publisher: Oxford University Press

Published: 2013-10-30

Total Pages: 217

ISBN-13: 0199827346

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MTV utterly changed the movies. Since music television arrived some 30 years ago, music videos have introduced filmmakers to a new creative vocabulary: speeds of events changed, and performance and mood came to dominate over traditional narrative storytelling. Popular Music and the New Auteur charts the impact of music videos on seven visionary directors: Martin Scorsese, Sofia Coppola, David Lynch, Wong Kar-Wai, the Coen brothers, Quentin Tarantino, and Wes Anderson. These filmmakers demonstrate a fresh kind of cinematic musicality by writing against pop songs rather than against script, and allowing popular music a determining role in narrative, imagery, and style. Featuring important new theoretical work by some of the most provocative writers in the area today, Popular Music and the New Auteur will be required reading for all who study film music and sound. It will be particularly relevant for readers in popular music studies, and its intervention in the ongoing debate on auteurism will make it necessary reading in film studies.

Theories of the Soundtrack

Author: James Buhler

Publisher: Oxford Music/Media

Published: 2018

Total Pages: 337

ISBN-13: 0199371075

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A theory of the soundtrack is concerned with what belongs to the soundtrack, how a soundtrack is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound and music, classify the types of relations that films have used for image and sound, identify the central problems, and reflect on and describe effective uses of sound in film. This book summarizes and critiques major theories of the soundtrack from roughly 1929 until today. Rather than providing an exhaustive historical survey, it sketches out the range of theoretical approaches that have been applied to the soundtrack since the commercial introduction of the sound film. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories. The organization is both chronological and topical, the former in that the chapters move steadily from early film theory through models of the classical system to more recent critical theories; the latter in that the chapters highlight central issues for each generation: the problem of film itself, then of image and sound, of adequate analytical-descriptive models, and finally of critical-interpretative models.

Film/Music Analysis

Author: Emilio Audissino

Publisher: Springer

Published: 2017-10-14

Total Pages: 245

ISBN-13: 3319616935

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This book offers an approach to film music in which music and visuals are seen as equal players in the game. The field of Film-Music Studies has been increasingly dominated by musicologists and this book brings the discipline back squarely into the domain of Film Studies. Blending Neoformalism with Gestalt Psychology and Leonard B. Meyer's musicology, this study treats music as a cinematic element and offers scholars and students of both music and film a set of tools to help them analyse the wide ranging impact that music has in films.

Cinesonidos

Author: Jacqueline Avila

Publisher: Oxford University Press

Published: 2019-09-16

Total Pages: 392

ISBN-13: 0190671327

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During Mexico's silent (1896-1930) and early sound (1931-52) periods, cinema saw the development of five significant genres: the prostitute melodrama (including the cabaretera subgenre), the indigenista film (on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the Revolution film, and the comedia ranchera (ranch comedy). In this book, author Jacqueline Avila looks at examples from all genres, exploring the ways that the popular, regional, and orchestral music in these films contributed to the creation of tropes and archetypes now central to Mexican cultural nationalism. Integrating primary source material--including newspaper articles, advertisements, films--with film music studies, sound studies, and Mexican film and cultural history, Avila examines how these tropes and archetypes mirrored changing perceptions of mexicanidad manufactured by the State and popular and transnational culture. As she shows, several social and political agencies were heavily invested in creating a unified national identity in an attempt to merge the previously fragmented populace as a result of the Revolution. The commercial medium of film became an important tool to acquaint a diverse urban audience with the nuances of Mexican national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity, functioning both as a sign and symptom of social and political change.