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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... Potential of Film-Music That “Doesn't Work” 13 “The Motion Picture You're About to See Is a Story of Music”: The Migration of Cinema into Rock 'n' Roll 41 “It's Not Only Trivial, It's Bad,Vulgar”: Ken Russell's Composer Biopics and ...
... Potential of Film-Music That “Doesn't Work” 13 “The Motion Picture You're About to See Is a Story of Music”: The Migration of Cinema into Rock 'n' Roll 41 “It's Not Only Trivial, It's Bad,Vulgar”: Ken Russell's Composer Biopics and ...
Trang 7
... potentially disruptive racial ambiguity undercut and pa- tronized by his narrative alliances with a series of Mexican, Chinese and Polynesian [and, in this movie, Arab] children, Hollywood showcased the castration of the redneck in ...
... potentially disruptive racial ambiguity undercut and pa- tronized by his narrative alliances with a series of Mexican, Chinese and Polynesian [and, in this movie, Arab] children, Hollywood showcased the castration of the redneck in ...
Trang 11
... the slip-ups and disappointments detectable in Harum Scarum—ones that could have easily been remedied in production—seem to ooze from a disregard for Presley's potential within so many quarters of the entertainment 11 An Overture.
... the slip-ups and disappointments detectable in Harum Scarum—ones that could have easily been remedied in production—seem to ooze from a disregard for Presley's potential within so many quarters of the entertainment 11 An Overture.
Trang 12
... potential productivity of the star is blocked; his work as an entertainer is frustrated. The Presley persona is constituted of a sticky and ill-bonded mixture of music and film at this point in his career, yet an analysis of its com ...
... potential productivity of the star is blocked; his work as an entertainer is frustrated. The Presley persona is constituted of a sticky and ill-bonded mixture of music and film at this point in his career, yet an analysis of its com ...
Trang 13
... star's public persona or body of musical output, or musical performances pulled off with aplomb by entertainers better known for their acting. Most books on music. The Status and the Potential of Film-Music That “Doesn't Work”. 13.
... star's public persona or body of musical output, or musical performances pulled off with aplomb by entertainers better known for their acting. Most books on music. The Status and the Potential of Film-Music That “Doesn't Work”. 13.
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