when characterized by their functional properties, also apply to vocal. Originally published in 1995. Cunningham 2005, Gangar 1999, and Zhang 2004 are broad historical overviews. Clair 1985 and Eisenstein 1942 lay out more specific aesthetics of experimentation. Find this resource: Film and Music So many films feature non-diegetic or background musicmusic without a source in the films story worldthat we rarely notice it unless a film lacks it altogether. The deployment of voice within the construction of a film greatly affect the definition of space experienced by the spectator. DOI:.4324/ Save Citation » Export Citation » E-mail Citation » A brief but historically and critically rich narrative, presented from the perspective of Hollywood as an industry with production"s, employees on a mass scale, and a strong tendency toward conservatism and continuity. Particularly sensitive to the racial politics of Hollywoods (and white Americas) appropriation of jazz from its African-American inventors. Find this resource: Spadoni, Robert. Since the cinema began, inventors ranging from Thomas Edison to Lee de Forest, the Father of Radio, tried to unite sound media with film projection with some technical success but little lasting impact. Find this resource: Wojcik, Pamela Robertson, and Arthur Knight, eds. Find this resource: Crafton, Donald.
Bloomington: Indiana University Press, 1986. Helpfully divided into sections on classical and post-classical film music. Find this resource: Mulvey, Laura. Cambridge, UK: Cambridge University Press, 2001. In The Film Sense. The emergence of multichannel film sound, first (briefly) in the 1950s as a complement to widescreen exhibition technologies, and again in the 1970s when rock music films (.
American Cinematographer.9 (1929. Edited by Richard Abel and Rick Altman, 129142. Cinema Journal.1 (1997 322.
Bridging the Gap: Reconsidering the Border between Diegetic and Non-Diegetic Music. Film Music: Critical Approaches. Save Citation » Export Citation » E-mail Citation » In this editorial, the unsigned author remarks that audiences will forgive even poorly executed moving picture shows if there is a constant stream of good music going on (see Lastra 2000,. The Sounds of Commerce: Marketing Popular Film Music. Awkward Transitions: Hitchcocks Blackmail and the Dynamics of Early Film Sound. Save Citation » Export Citation » E-mail Citation » Argues that the benshi, narrators for Japanese silent films who became stars in their own right, were one of several extracinematic elements that were essential to spectators interpretation of films. Noise: The Political Economy of Music.