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The Accessibility of Music
Jochen Eisentraut's book provides a range of perspectives on why, and how, we engage with music.
The Paradox of Musical Vernaculars
Musical vernaculars are a rare and challenging object of study. Their sound can include everything—from local folk and popular songs to random foreign hits and fragments of classic repertoire. It is an everchanging element—eclectic, whimsical, and resistant to regularity. Based on the author’s multicultural experience, proficiency in Russian and Jewish music history, and interest in anthropology, this book explores the essential features of vernaculars. They can have varying degrees of changeability; some are quite stable, and exist in closed rural or immigrant communities (phylo-vernacular), while others are dynamic, like those of an urbanized population (onto-vernacular). These types...
Occult Aesthetics
Occult Aesthetics: Synchronization in Sound Film opens up an often-overlooked aspect of audiovisual culture which is crucial to the medium's powerful illusions. Author Kevin Donnelly contends that a film soundtrack's musical qualities can unlock the occult psychology joining sound and image, an effect both esoteric and easily destroyed.
Global Soundtracks
The first volume focusing on film music as a worldwide phenomenon
I Hear a Symphony
Investigates how the music of Motown Records functioned as the center of the company's creative and economic impact worldwide
The Music and Sound of Experimental Film
Holly Rogers is Senior Lecturer in Music at Goldsmiths, University of London. Book jacket.
Sound and Music in Film and Visual Media
Sound and Music in Film and Visual Media: A Critical Overview is a comprehensive work defining and encapsulating concepts, issues and applications in and around the use of sound in film and the cinema, media/broadcast and new media. Over thirty definitive full-length essays, which are linked by highlighted text and reference material, bring together original research by many of the world's top scholars in this emerging field. Complete with an extensive bibliography, Sound and Music in Film and Visual Media provides the most comprehensive and wide-ranging consideration of this subject yet produced.
Southern by the Grace of God
Like the media coverage of the civil rights era itself, Hollywood dramas have reinforced regional stereotypes of race, class, and gender to cleanse and redeem the wider nation from the implications of systemic racism. As Southern by the Grace of God reveals, however, Hollywood manipulates southern religion (in particular) to further enhance this pattern of difference and regional exceptionalism, consistently displacing broader American racism through a representation of the poor white southerner who is as religious as he (and it is always a he) is racist. By foregrounding the role of religion in these characterizations, Megan Hunt illuminates the pernicious intersections between Hollywood an...
Aesthetics and the Revolutionary City
Aesthetics and the Revolutionary City engages in alternative ways of reading foreign visual representations of Havana through analysis of advertising images, documentary films, and photographic texts. It explores key narratives relating to the projection of different Havana imaginaries and focuses on a range of themes including: pre-revolutionary Cuba; the dream of revolution; and the metaphor of the city “frozen-in-time.” The book also synthesizes contemporary debates regarding the notion of Havana as a real and imagined city space and fleshes out its theoretical insights with a series of stand-alone, important case studies linked to the representation of the Cuban capital in the Western imaginary. The interpretations in the book bring into focus a range of critical historical moments in Cuban history (including the Cuban Revolution and the “Special Period”) and consider the ways in which they have been projected in advertising, documentary film and photography outside the island.
The Art of Pure Cinema
In a now-famous interview with Fran�ois Truffaut in 1962, Alfred Hitchcock described his masterpiece Rear Window (1954) as "the purest expression of a cinematic idea." But what, precisely, did Hitchcock mean by pure cinema? Was pure cinema a function of mise en sc�ne, or composition within the frame? Was it a function of montage, "of pieces of film assembled"? This notion of pure cinema has intrigued and perplexed critics, theorists, and filmmakers alike in the decades following this discussion. And even across his 40-year career, Hitchcock's own ideas about pure cinema remained mired in a lack of detail, clarity, and analytical precision. The Art of Pure Cinema is the first book-length ...
