Off Key: When Film and Music Won't Work TogetherOxford University Press, 27 thg 3, 2008 - 264 trang In Off Key, Kay Dickinson offers a compelling study of how certain alliances of music and film are judged aesthetic failures. Based on a fascinating and wide-ranging body of film-music mismatches, and using contemporary reviews and histories of the turn to post-industrialization, the book expands the ways in which the union of the film and music businesses can be understood. Moving beyond the typical understanding of film music that privileges the score, Off Key also incorporates analyses of rock 'n' roll movies, composer biopics, and pop singers crossing over into acting. By doing this, it provides a fuller picture of how two successful entertainment sectors have sought out synergistic strategies, ones whose alleged "failures" have much to tell about the labor practices of the creative industries, as well as our own relationship to them and to work itself. A provocative and politically-conscious look at music-image relations, Off Key will appeal to students and scholars of film music, cinema studies, media studies, cultural studies, and labor history. |
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Trang 4
... exploitation and willful distraction. From the very outset, the language of work, its destructiveness and its avoidance, bubble through the popular discourse. Despite being among MGM's highest paid and most successful performers at one ...
... exploitation and willful distraction. From the very outset, the language of work, its destructiveness and its avoidance, bubble through the popular discourse. Despite being among MGM's highest paid and most successful performers at one ...
Trang 5
... Exploitation” meant that net profits would be augmented if Presley simply churned out a greater quantity of movies per year. In their biography of the relationship between Presley and Parker, Dirk Vellenga and Mick Farren convey the ...
... Exploitation” meant that net profits would be augmented if Presley simply churned out a greater quantity of movies per year. In their biography of the relationship between Presley and Parker, Dirk Vellenga and Mick Farren convey the ...
Trang 6
... exploited through almost identical capitalist mechanisms. Presley is renowned for incorporating into his musical style not just country and bluegrass, but also more distinctly African American idioms (rock 'n' roll, gospel, and blues in ...
... exploited through almost identical capitalist mechanisms. Presley is renowned for incorporating into his musical style not just country and bluegrass, but also more distinctly African American idioms (rock 'n' roll, gospel, and blues in ...
Trang 7
... exploitation of resources and workers. Might this significant about-face in a central popular figure's enactment of cultural exchange, understanding, and employment categorization reveal much to us about why Harum Scarum is so unpopular ...
... exploitation of resources and workers. Might this significant about-face in a central popular figure's enactment of cultural exchange, understanding, and employment categorization reveal much to us about why Harum Scarum is so unpopular ...
Trang 9
... exploited by the system.The fable runs as follows: Elvis, trapped in the clutches of his Svengali manager (“domes- ticated,”11 as Allison Graham says, bringing a conspicuously gendered dimension to the transition), was corralled into a ...
... exploited by the system.The fable runs as follows: Elvis, trapped in the clutches of his Svengali manager (“domes- ticated,”11 as Allison Graham says, bringing a conspicuously gendered dimension to the transition), was corralled into a ...
Nội dung
13 | |
The Migration of Cinema into Rock n Roll | 41 |
Ken Russells Composer Biopics and the Uneasy Realignment of Work and Culture | 81 |
The Horrific Sights and Incompatible Sounds of Video Nasties | 119 |
5 Pop Stars Who Cant Act and the Limits of Celebrity Flexibility | 155 |
The Problems of Conclusion | 189 |
Notes | 199 |
Bibliography | 227 |
Index | 243 |
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acting aesthetic African American ambivalence argues artistic audience become biopics Britain British Cannibal Cannibal Ferox Cannibal Holocaust capital capitalist chapter cinema commodities composers consumer contemporary creative critics cross-over stars crucial culture decentralization dialectical dialecticism economy Eisenstein Elvis employment entertainment industries example exploitation Fats Domino film and music film-music film’s Fordist Freejack genre Girl Can’t Help global Harum Scarum Hegel Hollywood horror increasingly instance Jagger Jailhouse Rock Ken Russell labor leisure Liszt Lisztomania Madonna Mahler manufacturing Marx means Mick Jagger mismatch modes Music Lovers musicians narrative one’s particular percent performance perhaps picture political popular post-Fordism postindustrial potential practices Presley Presley’s production Rattle and Rock relation responses Rock rock n roll movies Russell’s scoring screen sector sense social song sound soundtrack structure synthesizer Tchaikovsky’s teen teenagers television tion tradition understanding Variety video nasties Video Violence Violence and Children workers