Popular Music on Screen examines the relationship between popular music and the screen, from the origins of the Hollywood musical to contemporary developments in music television and video. Through detailed examination of films, television programs and popular music, together with analysis of the economic, technological and cultural determinants of their production and consumption, the book argues that popular music has been increasingly influenced by its visual economy. Though engaging with the debates that surround postmodernism, the book suggests that what most characterizes the relationship between popular music and the screen is a strong sense of continuity, expressed through institutional structures, representational strategies and the ideology of "entertainment."
In this book, as much as possible, I treat popular music and screen media as equal partners, while at the same time recognising the fact that in different genres music receive unequal attention. In Polish musicals popular songs are ...
For music supervisors, new entrants to the market of music supervision, enabled by online platforms and ... References Adams, R., Hnatiuk, D. and Weiss, D. (2005) Music Supervision: The Complete Guide to Selecting Music for Movies, TV ...
But in the eighties everything changed, and it all started with popular music. (Jia Zhangke in Michael Berry, 2005, pp. 189–90) Geremie R. Barmé writes that: 'The threat of popular music from Hong Kong and Taiwan had been recognised for ...
Bringing together composer profiles, exclusive interview excerpts, and industry case studies, this volume showcases their achievements and reflects on the systemic gender biases women have faced in an industry that has long excluded them.
This book investigates the relationship between performance, technological mediation, and the sense of live presence through a series of case studies related to popular music products.
Its source is Mygale by Thierry Jonquet, published in English as Tarantula, but one can also cite the French cult horror film Eyes Without a Face (Georges Franju) and the expressionism of Fritz Lang as influences.
This edited collection, bringing together a number of international scholars, looks closely at the range and scope of contemporary film musicals, from stage adaptations like Mamma Mia! (2008) and Les Miserables (2012), to less conventional ...
He is author of Intersecting Film, Music, and Queerness (2016), which bridges musicology, cinema studies and queer theory. He writes about film, music, sexuality, popular culture, production practices and animation.
At the same time, this is a compelling, refreshingly jargon-free read for the non-specialist interested in film, music, or media.rdquo;-Will Straw, McGill University
51 . Amis, “Travolta's Second Act,” 212. 52 . Craig, Sorry I Don't Dance, 116. 53 . Zigelstein, “Staying Alive in the 90s,” 5. 54 . Denby, “Masquerade,” 48. 55 . Condon, “Stepping Out in Ladies' Shoes.” 56 . Adams ...