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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... and the Limits of Celebrity “Flexibility” 155 The Problems of Conclusion 189 Notes 199 Bibliography 227 Index 243 This page intentionally left blank Illustrations Frontispiece: Vintage synthesizer. Copyright Contents.
... and the Limits of Celebrity “Flexibility” 155 The Problems of Conclusion 189 Notes 199 Bibliography 227 Index 243 This page intentionally left blank Illustrations Frontispiece: Vintage synthesizer. Copyright Contents.
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When Film and Music Won't Work Together Kay Dickinson. This page intentionally left blank Illustrations Frontispiece: Vintage synthesizer. Copyright © Rafael Perez Evans. Overture:
When Film and Music Won't Work Together Kay Dickinson. This page intentionally left blank Illustrations Frontispiece: Vintage synthesizer. Copyright © Rafael Perez Evans. Overture:
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... synthesizer. Copyright © Rafael Perez Evans. Overture: Elvis Presley as Johnny in Harum Scarum (Gene Nelson, 1965). Copyright © MGM Pictures. Chapter I: Elvis Presley as Vince in Jailhouse Rock (Richard Thorpe, 1957). Copyright © MGM ...
... synthesizer. Copyright © Rafael Perez Evans. Overture: Elvis Presley as Johnny in Harum Scarum (Gene Nelson, 1965). Copyright © MGM Pictures. Chapter I: Elvis Presley as Vince in Jailhouse Rock (Richard Thorpe, 1957). Copyright © MGM ...
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... synthesizer scores.This case study explores how one particular clash of music and moving image was politically circumscribed in terms of a proposed notion of morality based around the new status of movies as increasingly domestic ...
... synthesizer scores.This case study explores how one particular clash of music and moving image was politically circumscribed in terms of a proposed notion of morality based around the new status of movies as increasingly domestic ...
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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