Soundtrack Available

Pamela Robertson Wojcik and Arthur Knight; eds.

Description

From the silent era to the present day, popular music has been a key component of the film experience. Yet there has been little serious writing on film soundtracks that feature popular music. Soundtrack Available fills this gap, as its contributors provide detailed analyses of individual films as well as historical overviews of genres, styles of music, and approaches to film scoring.With a cross-cultural emphasis, the contributors focus on movies that use popular songs from a variety of genres, including country, bubble-gum pop, disco, classical, jazz, swing, French cabaret, and showtunes. The films discussed range from silents to musicals, from dramatic and avant-garde films to documentaries in India, France, England, Australia, and the United States. The essays examine both "nondiegetic" music in film-the score playing outside the story space, unheard by the characters, but no less a part of the scene from the perspective of the audience-and "diegetic" music-music incorporated into the shared reality of the story and the audience. They include analyses of music written and performed for films, as well as the now common practice of scoring a film with pre-existing songs. By exploring in detail how musical patterns and structures relate to filmic patterns of narration, character, editing, framing, and mise-en-scene, this volume demonstrates that pop music is a crucial element in the film experience. It also analyzes the life of the soundtrack apart from the film, tracing how popular music circulates and acquires new meanings when it becomes an official soundtrack.Contributors. Rick Altman, Priscilla Barlow, Barbara Ching, Kelley Conway, Corey Creekmur, Krin Gabbard, Jonathan Gill, Andrew Killick, Arthur Knight, Adam Knee, Jill Leeper, Neepa Majumdar, Allison McCracken, Murray Pomerance, Paul Ramaeker, Jeff Smith, Pamela Robertson Wojcik, Nabeel Zuberi

Sujets

• Film

Informations

• Publié par: Duke University Press
• Date de parution: 03 décembre 2001
• Nombre de lectures: 0
• EAN13: 9780822380986
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

Soundtrack Available

V A I L A C K A B L A R E T D N U O S Essayson Film and Popular Music

Edited by Pamela Robertson Wojcik

and Arthur Knight

  

Durham and London 

©  Duke University Press All rights reserved Printed in the United States of America on acid-free paper  Designed by Amy Ruth Buchanan Typeset in Scala by Tseng Information Systems, Inc. Library of Congress Cataloging- in-Publication Data appear on the last printed page of this book.

Contents

List of Illustrations, vii

Acknowledgments, ix

Overture     ,

POPULAR VS. ‘‘SERIOUS’’ Cinema and Popular Song: The Lost Tradition , Surreal Symphonies:L’Age d’orand the Discreet Charms of Classical Music ,

‘‘The Future’s Not Ours to See’’: Song, Singer, Labryinth in Hitchcock’sThe Man Who Knew Too Much , 

‘‘You Think They Call Us Plastic Now. . .’’: The Monkees andHead  . ,

SINGING STARS Real Men Don’t Sing Ballads: The Radio Crooner in Hollywood, – ,  Flower of the Asphalt: The Chanteuse Réalistein s French Cinema ,

The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema , 

MUSIC AS ETHNIC MARKER Music as Ethnic Marker in Film: The ‘‘Jewish’’ Case . , Sounding the American Heart: Cultural Politics, Country Music, and Contemporary American Film  ,

Crossing Musical Borders: The Soundtrack forTouch of Evil ,

Documented/Documentary Asians: Gurinder Chadha’sI’m British But . . .and the Musical Mediation of Sonic and Visual Identities ,

AFRICAN AMERICAN IDENTITIES Class Swings: Music, Race, and Social Mobility inBroken Strings  , Borrowing Black Masculinity: The Role of Johnny Hartman inThe Bridges of Madison County ,

CASE STUDY: PORGY AND BESS ‘‘It Ain’t Necessarily So That It Ain’t Necessarily So’’: African American Recordings ofPorgy and Bessas Film and Cultural Criticism  ,

‘‘Hollywood Has Taken on a New Color’’: The Yiddish Blackface of Samuel Goldwyn’sPorgy and Bess  ,

CONTEMPORARY

COMPILATIONS

Picturizing American Cinema: Hindi Film Songs and the Last Days of Genre . ,

Popular Songs and Comic Allusion in Contemporary Cinema ,

GENDER AND TECHNOLOGY The Girl and the Phonograph; or the Vamp and the Machine Revisited  ,

Bibliography, 

Contributors,  Index, 

List of Illustrations

 Author’s photo of some soundtracks available,   Publicity still fromCasablanca,    Sears catalog ad for a song slide company,  Film Dailycue music ad,   Poster forRose of Washington Square,  Balaban and Katz memo explaining song-slide techniques forWar Nurse,  Doris Day inThe Man Who Knew Too Much,  The Monkees,   Rudy Vallee, ,   Bing Crosby,   Fréhel,   Damia (Marie-Louise Damien),   Lata Mangeshkar in the recording studio,   Publicity still fromFiddler on the Roof,  Publicity still fromCabaret, 

 Publicity still fromNashville,   Publicity still fromCoal Miner’s Daughter,  Publicity still fromTouch of Evil,  Publicity still fromBroken Strings,  Publicity still fromThe Bridges of Madison County,  Publicity still fromCarmen Jones,  Record album cover,Ella and Louis(),   Record album cover,Ella and Louis Again(),   Record Album cover, Miles Davis and Gil Evans’sPorgy and Bess(),   Samuel Goldwyn, ,   Sammy Davis Jr,   Publicity still fromShree ,   Advertisement forAlam Ara,   Publicity still fromTezaab,

viii

   

 Naushad (Hindi-Urdu film composer) with superstar playback singers Lata Mangeshkar and Mohammed Rafi,   Advertisement for live show of Indian film stars in Ft. Lauderdale, Florida (),   Publicity still fromRomy and Michele’s High School Reunion,   Publicity still forLittle Voice,   Audrey Hepburn inBreakfast at Tiffany’s,  Jeanne Moreau inThe Bride Wore Black,  Excerpts from ‘‘Spinner Records’’ story, Dick Tracy Weekly #, 

Acknowledgments

Editing a collection of essays is a collaborative effort, much like making a film or cutting a record. From this book’s inception to its release, we have been fortunate to have the assistance and contributions of many people and institutions. This project’s origins go back to our days as graduate students. We met through the Mass Culture Workshop at the University of Chicago, where we found a community of scholars interested in film and popular music. At the University of Chicago we had two particular mentors who deserve thanks: Gerald Mast and Miriam Hansen. In very different ways, they in- spired us to examine popular film music. The Chicago Recorded Music Reading Group at Northwestern Univer- sity provided a then sorely needed forum for thinking about popular music and introduced us to new friends and colleagues. Students from courses in film and popular music at the University of Newcastle and the University of Notre Dame, from ‘‘Multicultural Media Representations’’ at DePaul University, and in a variety of American studies, film, literary and cultural studies, and English courses at the College of William and Mary provided direct inspiration for this book, and sometimes road-tested essays for the collection. Our colleagues at the University of Notre Dame, the College of William and Mary, and the University of Newcastle in Australia provided welcome support over the course of this project. Ken Wissoker has encouraged this project from the beginning. Thanks to Ken and the anonymous readers at Duke University Press for their advo- cacy and their advice. For help with illustrations, we owe thanks to Carbon and Josh Yumibe at the University of Chicago Film Studies Center, Cheryl Kelly in Multimedia Services at the University of Notre Dame, and Dorinda