This book is about American films from the late sixties and early seventies, how they use music and sound to foreground an imagined engagement with the lived immediacy of experience, and how this experience is related to the idea of the historical past.
This book is about American films from the late sixties and early seventies, how they use music and sound to foreground an imagined engagement with the lived immediacy of experience, and how this experience is related to the idea of the historical past.
Daniel Bishop is an adjunct assistant professor at the Jacobs School of Music at Indiana University, where he teaches in the Music in General Studies program and the Musicology department. His teaching and research focus on film music and sound.
Inhaltsangabe
Acknowledgements Introduction: The Presence of the Past in the New Hollywood Chapter 1: Bonnie and Clyde and the Aural Imagination of American Counterculture Chapter 2: The Revisionist Western and the Mythic Past Chapter 3: The Mythic Elements of Chinatown Chapter 4: Radio, Memory, and the Past in the Nostalgia Film Chapter 5: Badlands and the Music of Temporal Imminence Bibliography Index
Acknowledgements Introduction: The Presence of the Past in the New Hollywood Chapter 1: Bonnie and Clyde and the Aural Imagination of American Counterculture Chapter 2: The Revisionist Western and the Mythic Past Chapter 3: The Mythic Elements of Chinatown Chapter 4: Radio, Memory, and the Past in the Nostalgia Film Chapter 5: Badlands and the Music of Temporal Imminence Bibliography Index
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