"From Bollywood to Hollywood, Wim Wenders to Wong Kar-Wai, popular music permeates movies. Rigorous scholarship has finally begun to catch up with this phenomenon to make sense of its rich and varied cultural meanings. Wocjik's and Knight's first-rate collection is muscular, theoretically informed, historically textured, and full of exciting discoveries for all interested in the confluence of pop music, film, and identity."--Claudia Gorbman, University of Washington
"From Bollywood to Hollywood, Wim Wenders to Wong Kar-Wai, popular music permeates movies. Rigorous scholarship has finally begun to catch up with this phenomenon to make sense of its rich and varied cultural meanings. Wocjik's and Knight's first-rate collection is muscular, theoretically informed, historically textured, and full of exciting discoveries for all interested in the confluence of pop music, film, and identity."--Claudia Gorbman, University of WashingtonHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Pamela Robertson Wojcik is Associate Professor of Film, TV, and Theatre at the University of Notre Dame and the author of Guilty Pleasures: Feminist Camp from Mae West to Madonna, also published by Duke University Press. Arthur Knight is Associate Professor of American Studies and English at the College of William and Mary and the author of Dis/Integrating the Musical: African American Musical Performance and American Musical Film, 1927-1959, forthcoming from Duke.
Inhaltsangabe
List of Illustrations Acknowledgments Overture / Arthur Knight and Pamela Robertson Wojcik I. Popular vs. “Serious” 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, and Labryinth 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 II. Singing Stars Real Men Don’t Sing Ballads: The Radio Crooner in Hollywood, 1929–1933 / Allison McCracken Flower of the Asphalt: The Chanteuse Realiste in 1930s French Cinema / Kelley Conway The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema / Neepa Majumdar III. Music as Ethnic Marker 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 IV. African American Identities 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 V. Case Study: Porgy and Bess 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 VI. Contemporary Compilations 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 VII. Gender and Technology The Girl and the Phonograph; or the Vamp and the Machine Revisited / Pamela Robertson Wojcik Bibliography Contributors Index
List of Illustrations Acknowledgments Overture / Arthur Knight and Pamela Robertson Wojcik I. Popular vs. “Serious” 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, and Labryinth 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 II. Singing Stars Real Men Don’t Sing Ballads: The Radio Crooner in Hollywood, 1929–1933 / Allison McCracken Flower of the Asphalt: The Chanteuse Realiste in 1930s French Cinema / Kelley Conway The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema / Neepa Majumdar III. Music as Ethnic Marker 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 IV. African American Identities 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 V. Case Study: Porgy and Bess 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 VI. Contemporary Compilations 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 VII. Gender and Technology The Girl and the Phonograph; or the Vamp and the Machine Revisited / Pamela Robertson Wojcik Bibliography Contributors Index
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