Music, Sound and the Moving Image

Articles

Vol. 13, No. 2, Autumn

French Musical Culture and the Coming of Sound Cinema
Hannah Lewis French Musical Culture and the Coming of Sound Cinema New York: Oxford University Press, 2019: 245pp. ISBN: 9780190635978Hannah Lewis's examination of the first years of sound in France in the 1930s takes its place among a handful of recent...
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Interview with Director Jonas ÅKerlund
Jonas Åkerlund has directed videos for many major pop and rock stars of the new millennium, including Beyoncé, Madonna, Christina Aguilera, Britney Spears, P!nk, David Guetta, Coldplay, and Lady Gaga. Over the course of his career, he has worked with...
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Musical Pathfinding; or How to Listen to Interactive Music Video
Musical Pathfinding; or How to Listen to Interactive Music VideoInteractive music videos are tricky to analyse. They present an infinite number of variants and, as Mathias Bonde Korsgaard notes, 'untie the audiovisual relation between music and image'...
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Living with Time-Space Compression: Bonobo's 'Kerala' and 'No Reason'
The British electronic producer known as Bonobo (Simon Green) released his album Migration in 2017. The album's music is grounded in midtempo dance rhythms, but its sonic palette is diversified with touches of (so-called) 'world music'. With such a soundscape,...
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For the Affective Aesthetics of Contemporary Music Video
IntroductionTen years ago, Richard Grusin noted that YouTube functioned no more as a continually updated 'global archive of mainly user-created video content, but also served as an archive of affective moments or formations' (2009, p.66). His conceptualisation...
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'Accented' Music Video: Animating Memories of Migration in 'Rocket Man'
IntroductionIn the age of cyberspace, a diaspora can, to some degree, be held together or re-created through the mind, through cultural artefacts and through a shared imagination.(Robin Cohen, 1997, p. 26)Elton John and Bernie Taupin's song 'Rocket Man'...
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Wonderful Design: Glamour in the Hollywood Musical
Lloyd Whitesell Wonderful Design: Glamour in the Hollywood Musical New York: Oxford University Press, 2018: 255pp. ISBN: 9780190843823With such a vague and, it turns out, inaccurate title and subtitle, it takes the reader some time to realise just what...
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The Music Video in Transformation: Notes on a Hybrid Audiovisual Configuration
Published thirty years apart from each other, two different pieces on music video authored by Will Straw reflect what music video studies has been and has become, respectively. The first of these two articles was published in 1988, in the heyday of MTV,...
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SOPHIE's 'Faceshopping' as (Anti-)Lyric Video
IntroductionMusic video lyrics have only rarely been the subject of academic attention, perhaps because lyrics hardly ever strike us as the most prominent part of the totality of communicative layers in music video. This article will try to redress this...
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Vol. 13, No. 1, Spring

Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard
Albertine Fox Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard London and New York: I.B.Tauris, 2018: 288pp. ISBN: 978-1784538422Ever since Claudia Gorbman's formative Unheard Melodies (1987), in which she drew attention to...
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Making Music in Selznick's Hollywood
Nathan Platte Making Music in Selznick's Hollywood Oxford: Oxford University Press, 2018: 416pp. ISBN-13: 9780199371112If there is one issue that a consideration of Classic-era Hollywood film music raises consistently it is the question of authorship...
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'Un-Sound' Sounds: Pornosonics of Female Desire in Indian Mediascapes
IntroductionWhile discussions of pornography and obscenity in relation to cinema and other moving image media often rake up 'images' of visual excess, this ocular focus tends to obscure cinema's aural affordances. At least since the 1920s, sound has...
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Editorial
This brief editorial is a chance for the journal to look forward, and back, to let the readership know about some changes in the journal's editing team and editorial board as well as some exciting new initiatives.Our journal's founder - Ian Gardiner...
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Reflections on Society for Cinema and Media Studies Conference, Seattle 2019
General IntroductionSound and music again had excellent representation on the programme at this year's annual meeting of the Society for Cinema and Media Studies (SCMS) - an immense conference, with roughly 420 panels. SCMS has an official Sound and...
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Immersive Point-of-Audition: Alfonso Cuarón's Three-Dimensional Sound Design Approach
IntroductionIn the historical evolution of film sound there have been a number of films that, powered by innovations in sound technology, have introduced new and sometimes revolutionary audio-visual approaches. Recently, Alfonso Cuarón's Gravity (2013)...
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Scoring the Score: The Role of the Orchestrator in the Contemporary Film Industry
Ian Sapiro Scoring the Score: The Role of the Orchestrator in the Contemporary Film Industry New York and London: Routledge, 2017: 220pp. ISBN: 9780415723237Those of us with an acute interest in film music typically grew up listening to it. One of my...
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The Sound of Things to Come: An Audible History of Science Fiction Film
Trace Reddell The Sound of Things to Come: An Audible History of Science Fiction Film Minneapolis: University of Minnesota Press, 2018: 479pp. ISBN: 978-0-8166-8313-0The Sound of Things to Come is an ambitious project and clearly a labour of love for...
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Vol. 12, No. 2, Autumn

The Transition from the Silent into the Sound Era in German Cinema
IntroductionIn 2001, Sabine Hake described the transitional period from the silent into the sound era as 'one of the least researched periods in the history of German cinema' (2001, p.55). This article contributes to redressing this lack by looking at...
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Empowering Cinema Operators in the USA and UK , 1927–1933
Study of the transition from silent to sound film has hitherto paid little attention to the changes that the introduction of recorded sound, together with alterations in the business and political environment, brought to cinema employees' workplace duties...
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Variable Areas
Significant shifts in technology such as the transition to sound in cinema often produce clusters of bizarre and interesting responses in the fields of art, technology, and commerce. As we progress through our own era of media transition with the development...
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When Britannia Ruled the Sound Waves
Consider the logo used at the end of the 1920s by British International Pictures, the film company that forged ahead more quickly and confidently than any other in Britain and Europe during 1929, the turbulent year when the world beyond America began...
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Responses of the Film Industry and Audiences to the Introduction of Sound Cinema in Turkey (1929–1933)
Cinema culture was one of the most important components of socio-cultural life in Turkey in the 1930s. During this period, movie theatres chiefly showed foreign films as the local film industry could only supply very limited domestic product. Sound cinema...
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The Silent Film Shortage
Introduction: Early WarningsDuring the transition period, the cinema exhibition sector was in great turmoil. Seismic shifts were occurring within the entire film industry, and it was the exhibitors - who, in the case of provincial independents, were...
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Have You a Happy Voice?
The talkies have created a vogue for voices [...] and some ungallant has suggested that the women of today are not worth listening to. (Anon., 1929a, p. 13)Adam has a more natural broadcasting voice than Eve. (Anon., 1928, quoted in Karpf, 2006, p. 157)Taking...
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Tantalising Fragments
In 1931, at a meeting of the Glasgow Orkney and Shetland1 Literary and Scientific Association, as reported in The Orcadian, a heated debate centred on the question of whether or not cinema exercised an influence for the good. Unsurprisingly, the result...
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Introduction
The transition between silent and sound cinema has often been presented as a technological revolution heralding the death knell of the 'art of silent cinema' and the birth of the more prosaic 'talking picture'. American philosopher Stanley Cavell later...
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Vol. 12, No. 1, Spring

Mission: Impossible-Ing: Towards a Theory of Cinematic Vitality
The Gesture [...] opens the sphere of ethos as the more proper sphere of that which is human.Giorgio Agamben, 'Notes on Gesture' (1992)Drawing upon Vivian Sobchack's film phenomenology and developmental psychologist Daniel Stern's theory of 'vitality...
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The Encyclopedia of Musicians and Bands on Film
Melissa U.D. Goldsmith, Paige A. Willson, Anthony J. Fonseca The Encyclopedia of Musicians and Bands on Film Lanham, MD: Rowman & Littlefield, 2016: 486pp ISBN: 9781442269866As film music scholarship continues to grow, the need for large collections...
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The Oxford Handbook of Mobile Music Studies, Vol. 1 and Vol. 2
Sumanth Gopinath and Jason Stanyek (eds) The Oxford Handbook of Mobile Music Studies, Vol. 1 and Vol. 2 Oxford: Oxford University Press, 2017: 538pp. and 522pp. ISBN: 9780190676360; 9780190676377I had not thought of my baby blue iPod mini for a number...
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Sounding the Inaudible: Rethinking the Musical Analogy in the City Symphonies of Walter Ruttmann and Dziga Vertov
IntroductionIn the cinema of the 1920s, an interest in urban environments combined with an avant-garde film practice to give rise to the city symphony film. Grouped according to family resemblances such as non-narrative approaches and day-in-the-life...
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The Camera Phone in the Concert Space: Live Music and Moving Images on the Screen
Introduction: Liveness, Live Music, and the ScreenThis article examines how live music, as opposed to pre-recorded music, has become bound to structures of visual representation through digital filming technologies afforded by the camera phone. I argue...
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Vol. 11, No. 2, Autumn

Music for Murder, Machines, and Monsters: 'Moat Farm Murder', the Twilight Zone, and the CBS Stock Music Library
On 18 July 1944, Columbia Broadcasting System aired a notorious murder confession created for the public's entertainment. This confession came in the form of a radio drama called 'Moat Farm Murder' that aired on the Columbia Presents Corwin radio series...
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How Does It Feel?: Scorsese Contemplates Art through Music and Sound in Life Lessons
At the opening ceremony for the 2011 Tribeca Film Festival, Martin Scorsese explained that, 'For me, movies and music have been inseparable. They always have been and they always will be' (CBS News, 2011). Thelma Schoonmacher, the editor who has cut...
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Sonic Space in Djibril Diop Mambety's Films
Vlad Dima Sonic Space in Djibril Diop Mambety's Films Bloomington: Indiana University Press, 2017: 246pp. ISBN: 978-0-253-02426-8Senegalese director Djibril Diop Mambety, who died in 1998 at the age of 53, made just a handful of films, and amongst these...
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Hymns for the Fallen: Combat Movie Music and Sound after Vietnam
Todd Decker Hymns for the Fallen: Combat Movie Music and Sound After Vietnam Oakland: University of California Press, 2017: 274pp. ISBN: 9780520282339A few years ago, I was sitting in New York's Washington Square Park on Memorial Day when there walked...
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The World within the Home: Tracing the Sound in Satyajit Ray's Films
PrologueThe distinctive sound aesthetics of renowned Indian filmmaker Satyajit Ray might be illustrated by a vivid example: the jarring and disruptive instrusion of the sound of an electric generator into an otherwise lyrical and nostalgic auditory setting...
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Vol. 11, No. 1, Spring

British Landmark Music Videos and the BFI National Archive
IntroductionMusic videos are a unique part of moving image production. Succinct and culturally savvy, they capture the Zeitgeist and, at their very best, define the attitudes and styles of the moment. Commissioned to accompany recorded music with arresting...
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The Occult Roots of MTV: British Music Video and Underground Film-Making in the 1980s
The video for Michael Jackson's 'Thriller' made its international premiere on MTV at the very end of 1983. It was a lavish affair, shot on 35mm by the director of An American Werewolf in London (1981), John Landis, and it included ambitious narrative...
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The Encyclopedia of Film Composers
Thomas S. Hischak The Encyclopedia of Film Composers Lanham, MD: Rowman & Littlefield, 2015: 836pp. ISBN-13: 9781442245495At the time of this writing, film composer Thomas Newman is in competition for his fourteenth Academy Award nomination for Best...
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‘The First Cut Is the Deepest’: Excerpts from a Focus Group on Editing Music Videos, with Explanatory Historical and Theoretical Notes
IntroductionOne of the ambitions of this research project was to draw academics' attention to the work of creatives other than the director in music videos. In this article we present the views of leading editors in the industry on their craft. We invited...
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Fifty Years of British Music Video: Introduction
The dedicated scholarship on music video has been dominated by US perspectives, just as popular perceptions of the medium have been shaped by MTV. Yet the British story followed its own arc: its talent educated at art schools, its industry differently...
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The Early Film Music of Dmitry Shostakovich
Joan Titus The Early Film Music of Dmitry Shostakovich New York: Oxford University Press, 2016: 256pp. ISBN: 9780199315147In 2015 Oxford University Press published in their Oxford Music/Media Series Kevin Bartig's excellent study Composing for the Red...
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Vol. 10, No. 1, Spring

Epic Sound: Music in Postwar Hollywood Biblical Films
Stephen C. Meyer Epic Sound: Music in Postwar Hollywood Biblical Films Bloomington: Indiana University Press, 2015: 272pp. ISBN: 978-0-253-01451-1In Epic Sound, Stephen C. Meyer provides detailed, historically grounded research into the music of post-Second...
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Culture and Propaganda in World War II: Music, Film and the Battle for National Identity
John Morris Culture and Propaganda in World War II: Music, Film and the Battle for National Identity London & New York: I. B. Tauris, 2014: 248pp. ISBN: 9781780763972A paradox at the heart of British musical culture during the Second World War was...
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Vol. 9, No. 2, Autumn

Corporate Classicism and the Metaphysical Style: Af Fects, Ef Fects, and Contexts of Two Recent Trends in Screen Scoring
In Sherlock Holmes: A Game of Shadows (2011), the great detective goes to the opera. Don Giovanni is playing - but not as we know it. Moriarty has deceived Holmes into deducing that his nemesis has placed a bomb inside the base of the Commendatore's...
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Not Another Article on the Author! God and Auteurs in Moving Image Analysis: Last Call for a Long Overdue Paradigm Shift
Authorship in music video has recently been on the agenda in Music, Sound, and the Moving Image. In this journal in 2013 Carol Vernallis co-wrote an article advocating the 'auteur' as 'a theory' of music video to be progressed and expanded using interviews...
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Transformation in a New Key: Music in Vids and Vidding
Vidders as Interpreters and ProducersFan-made music videos, or vids, are a genre of remix in which fans of films or television shows combine clips from those movies or shows with carefully chosen music, usually popular songs. Vidding began in 1975 with...
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John Williams's Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style
Emilio AudissinoJohn Williams's Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music StyleWisconsin: University of Wisconsin Press, 2014: 346pp.John Williams is, without question, one of the most successful...
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Vol. 9, No. 1, Spring

Music, Performance, and the Realities of Film: Shared Concert Experiences in Screen Fiction
Ben Winters Music, Performance, and the Realities of Film: Shared Concert Experiences in Screen Fiction New York: Routledge, 2014: 260 pp.review by douglas KnightMusic, Performance, and the Realities of Film is a stimulating new addition to the musicological...
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'Vertical Montage' and Synaesthesia Movement, Inner Synchronicity, and Music-Image Correlation in Alexander Nevsky (1938)
Introduction: Reassessing 'Vertical Montage' in Eisenstein's Theory and PraxisSergei Eisenstein's return to feature filmmaking in 1937-38 was a transformative moment for his career and for the 1930s sound cinema. Eisenstein's nationally celebrated biopic...
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Conference Report: 'Film & History' Conference, Madison, Wisconsin, October 30 to November 1, 2014
Frigid temperatures and Halloween festivities did not deter nearly 300 scholars from attending the ninth 'Film & History' conference, held at the Madison Concourse Hotel and Governor's Club. Sponsored by Film & History: An Interdisciplinary Journal...
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Vol. 8, No. 2, Autumn

Playing with Sound: A Theory of Interacting with Sound and Music in Video Games
Karen Collins Playing with Sound: A Theory of Interacting with Sound and Music in Video Games Cambridge MA: MIT Press, 2012: 192pp.Like most films and television programmes, video games are audiovisual experiences, rather than purely visual experiences....
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The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture
Timothy D. Taylor The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture Chicago: University of Chicago Press, 2012: 368pp.Advertising has cluttered our public spaces, shaped our values, and defined our politics, yet perhaps there...
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The Oxford Handbook of New Audiovisual Aesthetics
John Richardson, Claudia Gorbman, and Carol Vernallis (eds) The Oxford Handbook of New Audiovisual Aesthetics Oxford: Oxford University Press, 2013: 752pp.In the last year, OUP has published three volumes in their ever-expanding handbook series that...
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Introduction: Trailers, Titles, and End Credits
This special issue has grown out of a small conference on music in Titles, Teasers and Trailers at the University of Edinburgh in April 2013, organized by Annette Davison, who has also contributed an article to the issue. The conference has also spawned...
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Sound and (No) Vision: Locating the Radio Trailer
An indifferent trailer can spring to life given good music, and a very good trailer can be dull and uninteresting because of a bad music track. Trailers [...] gain continuity by the use of music and effects.(Harris 1953: 101)Academic analysis and consideration...
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The End Is Nigh: Music Postfaces and End-Credit Sequences in Contemporary Television Serials
A conflict has developed between how broadcasters regard a television show's end-credit sequence and what producers and viewers expect from this time-space. While the latter may understand the end-credit sequence to be part of the fabric of the television...
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Vol. 8, No. 1, Spring

Scoring Transcendence: Contemporary Film Music as Religious Experience
Scoring Transcendence: Contemporary Film Music as Religious Experience Kutter Callaway Scoring Transcendence: Contemporary Film Music as Religious Experience Waco: Baylor University Press, 2013: 253 pp., ISBN: 978-160258535-5In recent years, academic...
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Cinema and Music (1937) by Ignacio Isaza Martínez
IntroductionIgnacio Isaza Martínez (b. Medellín, 20 June 1907: d. 28 July 1997) was a mining engineer with broad interests in the arts, mainly music and literature. He is mostly known in Colombia for being one of the co-founders of the Sociedad Amigos...
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Musical Cachet in New Queer Cinema
This article examines how music supervision and budgetary concerns influence the soundtracks of niche market cinema, using as a primary example the classic New Queer Cinema film The Living End (Gregg Araki, 1992). This film exemplifies a conscious balance...
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Vol. 7, No. 2, Autumn

'Bring the Noise!' Sonic Intensified Continuity in the Films of Edgar Wright
While discussing the climactic, violent battle in the picturesque town of Sandford during the DVD commentary for Hot Fuzz (2007), director Edgar Wright suddenly exclaims, 'It's so loud! I love it!' Wright is not wrong; his major film works to date -...
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Interview with Music Video Director and Auteur Floria Sigismondi
IntroductionMusic video continually reconfigures and reasserts itself, emerging in new guises. It jumps platforms: from television, cable, DVDs to iTunes and YouTube; from high-gloss looks and extravagant budgets to footage shot on cell phones. Its borders...
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Tuning In: American Narrative Television Music
Ron Rodman Tuning In: American Narrative Television Music New York: Oxford University Press, 2010, 368 pp.review by orlene denice McMahonIn a witty article published earlier this year addressing the question of why we are watching more television, Guardian...
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Teaching Film
Lucy Fischer and Patrice Petro (eds) Teaching Film New York: The Modern Language Association of America (Options For Teaching series), 2012, 413 pp.review by alexis BennettAs reviews editor of this journal I am often sent books which deal with an area...
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Vol. 7, No. 1, Spring

Intertextuality as 'Resonance': Masculinity and Anticapitalism in Pet Shop Boys' Score for Battleship Potemkin
In reviewing film music scholarship, Robynn J. Stilwell calls for interdis- ciplinary, 'fresh approaches, and perhaps the simple case study is a good place to start - to build theories from the ground up rather than from the top down' (2002: 48). This...
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Popular Music and Television in Britain
Ian Inglis (ed.) Popular Music and Television in Britain Surrey: Ashgate, 2010, 252pp.review by Stephen GrahamPopular music and television are intimately connected. The two have been bound into each other's narratives since their roughly contiguous emergence...
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Vol. 6, No. 2, Autumn

The Musical Mr Ripley: Closeting a Character in the 1950s and a Film in the 1990s
The current obsession in the movies to have everything explained is often mirrored by music, which tells you what to think and feel at any given moment, and just as this movie wants to believe that an audience is happier extrapolating meaning and moral...
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Klangbilder - Walt Disney's Fantasia (1940)
Irene Kletschke Klangbilder - Walt Disney's Fantasia (1940) (Beihefte zum Archiv für Musikwissenschaft67) 205pp. Wiesbaden: Franz Steiner Verlag, 2011Fantasia (1940) is still seen as an unusual yet innovative Disney cartoon, despite having been a commercial...
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Orientalism and Erotic Multiculturalism in Popular Culture: From Princess Rajah to the Pussycat Dolls
William Hammerstein went to Huber's Museum in Fourteenth Street yesterday and made what he calls a 'find.' As a result the star attraction at the Victoria in two weeks will be 'The Princess Rajah in her Cleopatra Dance.' [...] Said Mr. Hammerstein, 'In...
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Vol. 6, No. 1, Spring

Editorial
As the closing music of Volume 5 of MSMI fades out and the theme tune to Volume 6 starts up you may notice some new names in the title credits. After five years Anahid Kassabian has stepped down as co-editor, and joining me are Helen Hanson and Jay Beck,...
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Music and Narrative: An Introduction
This special issue has its origins in a paper session at the 6th Biennial International Conference on Music since 1900, at Keele University in July 2009. One of the conference's sub-themes was 'Music and Narrative' and co-organiser Nicholas Reyland convened...
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Inside/Outside the Klein Bottle: Music in Narrative Film, Intrusive and Integral
The figure represented on the previous page, that of a Klein bottle,1 will form part of this paper's attempt to identify and distinguish between functions performed by music in narrative film. One of the aims of the present argument is to circumvent...
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Musical Wallpaper? towards an Appreciation of Non-Narrating Music in Film
Film music studies has a history stretching back beyond the mid 1980s, but talk about its rebirth - occasioned by the appearance of Gorbman's landmark study, Unheard Melodies (1987) - is perhaps not far offthe mark. It is a rebirth, moreover, that is...
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'... There's No Music Playing, and It's Not Snowing': Songs and Self-Reflexivity in Curtisland
Solid Gold Shit, MaestroIn a mixed bunch of reviews (with a Tomatometer reading of 63% on www.rottentomatoes.com), the one thing almost all critics agreed on about Love Actually (Richard Curtis, 2003) was thatBill Nighy, playing a superannuated rocker...
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Outing the Score: Music, Narrative, and Collaborative Process in Little Ashes
As part of his essay 'Film Music and Narrative Agency' Jerrold Levinson argued that the narrative function of nondiegetic music is principally to enable that which 'would not otherwise be true, or not to the same degree or with the same definiteness'...
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Vol. 5, No. 2, Autumn

Natural Sound in the Early Talkie Western
To the critic viewing it retrospectively, 1929's In Old Arizona, a film frequently identified as the first talkie western, appears self-evidently as a western according to widely understood contemporary definitions of the genre. Indeed, it is almost...
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Artless Singing
What happens in a fiction film when characters sing - not in the patently artificial, artful song performances that we normally call musical numbers, but in moments that are construed and perceived as integral parts of the 'realistic' diegetic world?...
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Designing Sound
Andy Farnell Designing Sound London: The MIT Press, 2010, 664pp.Designing Sound is a comprehensive encyclopaedia for sound designers that includes a wealth of examples and exercises, along with online resources. This review examines its merits as a resource...
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Vol. 5, No. 1, Spring

The Place Where You Go to Listen: In Search of an Ecology of Sound and Light
John Luther Adams The Place Where You Go to Listen: In Search of an Ecology of Sound and Light Middletown, CT: Wesleyan University Press, 2010, 160pp.review by Jacqueline WaldockThis book can perhaps best be described as an extensive project diary, in...
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'Harmless' and 'Hump-Less' Political Podcasts: Censorship and Internet Resistance in Singapore
(ProQuest: ... denotes non-US-ASCII text omitted.)1. Introduction: Censorship and the Internet in SingaporeThe Internet - and its kaleidoscopic possibilities for interplay between image, music, text and ideas - has emerged as a new playing field for...
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Framing Ambiguity and Desire through Musical Means in Sally Potter's Film 'Orlando'
Orlando had become a woman-there is no denying it. But in every other respect, Orlando remained precisely as he had been.(Woolf 1990: 87)[A] phantasmatical mingling of men, of males, messieurs, of monarchs, princes, orphans, flowers, mothers, breasts,...
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Dreams of Difference, Songs of the Same: The Musical Moment in Film
Amy Herzog Dreams of Difference, Songs of the Same: The Musical Moment in Film Minneapolis, MN, and London: University of Minnesota Press, 2009, 296pp.review by Raymond KnappThis book takes as one of its starting points the idea of the 'musical moment',...
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As Heard on TV: Popular Music in Advertising
Bethany Klein As Heard on TV: Popular Music in Advertising Aldershot: Ashgate, 2009, 168pp.review by Joey EschrichOf all the academic books I have read this year, Bethany Klein's As Heard on TV, more than any other, has insinuated itself into my everyday...
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Music in the Horror Film: Listening to Fear
Neil Lerner (ed.) Music in the Horror Film: Listening to Fear New York: Routledge, 2010, 240pp.review by Charles LeinbergerThe frequency with which books on film music are being published has been increasing dramatically in the last decade. Not only...
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Vol. 4, No. 2, Autumn

The Sound of Silent Film in Spain: Heterogeneity and Homeopatía Escénica
In recent years there has been considerable growth in research into music and film in Spain. However, one of the least studied aspects is the treatment of sound in general and music in particular during the socalled silent era. The period from the onset...
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The Bolero in the Cinema of Pedro Almodóvar
IntroductionLeo Bersani (2005: 103) concludes his illuminating essay on Almodóvar by highlighting the filmmaker's immensely touching modesty, as manifested in the final scene of Women on the Verge of a Nervous Breakdown (1988) where the director positions...
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The Sound of Fear in Recent Spanish Films
What kinds of sounds create fear? In what kind of space? What kind of sounds show fear? Is the character frightened by the sound, or is it his/her scream that is supposed to frighten the spectator? Spanish films question these 'scary' sounds and their...
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Music and European Identity: Notes on Pere Portabella's the Silence before Bach
Pere Portabella (born Figueres, 1929) is a producer, screenwriter and independent Spanish filmmaker, author of over a dozen cinematographic works. His feature films include No compteu amb els dits (1967), Cuadecuc vampir (1970), El Pont de Varsòvia (1989)...
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The Film Composer in Spain: The Generation of '89
Not long ago, Roberto Cueto asked himself in the introduction of his book El lenguaje invisible (The invisible language):What happened in Spain at the beginning of the 1990s to give room for a new generation of composers whose main activity is film music?...
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Spanish Literature on Music and Image: A Critical Selection
Carlos Colón Perales, Fernando Infante del Rosal and Manuel Lombardo OrtegaHistoria y Teoría de la Música en el cine: Presencias afectivas (History and Theory of Film Music: Affective Presences)296pp. Sevilla: Alfar, 1997The first part of this book expands...
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The Music of Michael Nyman: Texts, Contexts and Intertexts
Pwyll ap SiônThe Music of Michael Nyman: Texts, Contexts and Intertextsxviii + 232pp. Aldershot: Ashgate, 2007This is the first published book-length study of Michael Nyman, and to date by far the most substantial contribution to Nyman research. There...
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Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations
Kendra Preston LeonardShakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations152pp. Toronto and Plymouth: Scarecrow Press, 2009Musical adaptations of Shakespeare have for some time been the poorer relation of the family in terms of...
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Vol. 4, No. 1, Spring

CineMusic? Constructing the Film Score
David Cooper, Christopher Fox and Ian Sapiro (eds.), CineMusic? Constructing the Film Score (Newcastle upon Tyne: Cambridge Scholars Publishing, 2008), 220pp.Diversity can be a quality of ambiguous merit for a collection of essays to possess. What seems...
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The Selznick Studio, 'Spellbound', and the Marketing of Film Music
While film historians increasingly recognise the importance of film music since cinema's earliest days, little research has concerned its use in film marketing and promotion to the American public. During Hollywood's 'golden age' - roughly between 1920...
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Vol. 3, No. 2, Autumn

Leaving Kazimierz: Comedy and Realism in the Yiddish Film Musical Yidl Mitn Fidl
IntroductionThe 1936 Yiddish-language film Yidl mitn Fidl (Yidl with a Fiddle),1 produced by an international ensemble of actors under the director Joseph Green, follows a klezmer quartet as they travel from the streets of their small hometown to the...
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Composing for the Screen in Germany and the USSR: Cultural Politics and Propaganda
Robynn J. Stilwell and Phil Powrie, eds, Composing for the Screen in Germany and the USSR: Cultural Politics and Propaganda (Bloomington & Indianapolis IN: Indiana University Press, 2008), 188pp.review by Richard TaylorAlthough not acknowledged in...
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The Opera Singer and the Silent Film/Carmen on Film: A Cultural History
Paul Fryer, The Opera Singer and the Silent Film (Jefferson, North Carolina: McFarland & Co. Inc., 2005), 312pp.Phil Powrie, Bruce Babington, Ann Davies and Chris Perriam, Carmen on Film: A Cultural History (Indiana University Press, 2007), 320pp.review...
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Med Hondo's Sarraounia: The Musical Articulation of Cultural Transformation
As a film that re-imagines the past, Sarraounia (Med Hondo, Mauritania/ Burkina Faso/France, 1986) is perhaps 'about' the organisation of time, just as its dramatic narrative is about the contestation of space. Preserving a period of African history...
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Above and beyond or Betwixt and Between?
Above and Beyond or Betwixt and Between? Review article on Daniel Goldmark, Lawrence Kramer, Richard Leppert (eds), Beyond the Soundtrack: Representing Music in Cinema (Ahmanson Foundation Book in the Humanities) Berkeley: University of California Press,...
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Vol. 3, No. 1, Spring

Invention/Re-Invention
Here we go again ...In her seminal essays 'The Bounded Text' and 'Word, Dialogue and Novel' Julia Kristeva coined the term intertextuality to describe the notion that every text is constructed as a 'mosaic of quotations' and is the 'absorption and transformation...
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An Interview with James Hannigan
James Hannigan is a composer with involvement in a variety of media industries. Starting his career at Electronic Arts in the mid-1990s after a short stint in television, James worked on various EA Sports titles (FIFA/F1 series) and hits such as Origin's...
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Pirates of the Mediterranean: Moroccan Music Video and Technology
IntroductionThis article investigates the application of digital media technologies to the production and consumption of music video discs in Morocco. In it I will discuss the range of music videos that have recently been available in street markets,...
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Lowering the Boom: Critical Studies in Film Sound
Jay Beck and Tony Grajeda, eds., Lowering the Boom: Critical Studies in Film Sound (University of Illinois Press, 2008), xii + 342pp.review by David CooperIn an essay in Buhler, Flinn and Neumeyer's Music and Cinema (2000), Rick Altman argues, in response...
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Hindi Film Songs and the Cinema
Anna Morcom, Hindi Film Songs and the Cinema (SOAS Musicology Series) (Ashgate, 2007), 281pp.review by Gregory BoothThe commercial Hindi-language cinema of Mumbai offers unique perspectives on India's cultural and industrial responses to the technical...
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Vol. 2, No. 2, Autumn

Projecting an Aria, Singing the Cinema: In Search of a Shared Vocabulary for Opera and Film Studies
In 2007 I found myself facing 'the future of sound studies' in the middle of an ice storm at the University of Iowa. A colleague and I had organised an interdisciplinary conference titled 'Studies in Sound: Listening in the Age of Visual Culture' that,...
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Being 'In the True' of Sound Studies
One of the main methodological problems for people who do interdisciplinary research is that different disciplines speak of the same phenomenon as if it were two or more totally different things. It is not a question of each discipline only being able...
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The Musicalisation of Visual Arts
This article was first published in Images Numériques: L'aventure du regard, 1997, O. Blin et J. Sauvageot (eds.), University Press of Rennes/Distique, pp. 147-151. Reproduced courtesy of the publishers.The work of French sociologist Antoine Hennion,...
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Sound Design Is the New Score
When composer Carter Burwell, most famous for his collaboration with the Coen Brothers, said: 'I like to try to put as little music as I can in the films that I work on, and convince directors of that' (2003: 196), he possibly didn't imagine being credited...
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Building a Deleuzian Bridge between Music and Film Theories
As a general rule film music scholarship is led by one of three approaches. The first is the study of the commodification of film music. The second involves musical analysis of a given score, exploring the harmonic structures, thematic interwovenness,...
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Sound Studies: Framing Noise
'a shower of meteors of sound'1In a 1937 lecture, John Cage issued his now commonplace statement: 'Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating' (1961: 3). Just four years...
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Television Sound: Why the Silence?
The field of sound studies has shown enormous growth over the past fifteen years. Excellent work has recently appeared on many aspects of sound in media, with particularly rapid development in the fields of radio, film, popular music, and the historical...
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Tearing Speech to Pieces: Voice Technologies of the 1940s
Visitors entering the Bell Telephone exhibit at the 1939 World's Fair in New York encountered a striking demonstration of a new electronic device. Once inside a large, streamlined building, fair-goers were greeted by a face outlined in gold on the wall....
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Editorial
It's our intention in each Volume of this journal to include a themed issue, and here in Volume 2 is our first, under the title 'The Future of Sound Studies'. At the outset we present a sequence of position papers, curated by Tony Grajeda and Jay Beck,...
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A Statement on Sound Studies (with Apologies to Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov)
Our cherished dreams of a robust field of sound studies are being realised. Musicology, having developed some of the earliest techniques for studying audio material, is now broadening its reach, applying its expertise to aural issues in film, pop music,...
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Vol. 2, No. 1, Spring

Corporeality, Musical Heartbeats, and Cinematic Emotion
Film music's emotive power - in particular its ability seemingly to engender a state of suspense or even 'fear' when watching a horror movie - is well known, and is both recognised by spectators and exploited by filmmakers. We know, for instance, that...
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How the West Was Sung: Music in the Films of John Ford
Kathryn Kalinak, How the West was Sung: Music in the Films of John Ford (University of California Press, 2007), 271pp.review by Kevin DonnellyHaving interviewed film makers and musicians, I have been aware of the very genuine risk of scholars taking...
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Film's Musical Moments
Ian Conrich and Estella Tincknell, eds., Film's Musical Moments (Edinburgh University Press, 2006), 240pp.review by Catherine HaworthFilm's Musical Moments is described by its editors, Ian Conrich and Estella Tincknell, as a book 'about musical performance...
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The Emerging Film Composer: An Introduction to the People, Problems and Psychology of the Film Music Business/Music and Mythmaking in Film: Genre and the Role of the Composer
Richard Bellis, The Emerging Film Composer: An Introduction to the People, Problems and Psychology of the Film Music Business (BookSurge Publishing, 2007), 158pp.Timothy E. Scheurer, Music and Mythmaking in Film: Genre and the Role of the Composer (McFarland...
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Best Songs of the Movies: Academy Award Nominees and Winners, 1934-1958/the Soundtracks of Woody Allen: A Complete Guide to the Songs and Music in Every Film, 1969-2005
John Funnell, Best Songs of the Movies: Academy Award Nominees and Winners, 1934-1958 (MacFarland and Company, 2005), 320pp.Adam Harvey, The Soundtracks of Woody Allen: A Complete Guide to the Songs and Music in Every Film, 1969-2005 (MacFarland and...
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Editorial
In September 2007, the Institute for Musical Research in London convened a major international conference on Sound, Music, and the Moving Image. Many of its organisers have been actively involved in this journal, and MSMI had its official launch on the...
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Nostalgia, Music and the Television Past Revisited in American Dreams
Music's place in the evocation of nostalgia, due to its emotional and timespecific connotations, is well documented, as is the nostalgic re-presenting of television's history in the form of reruns. Despite the perennial nostalgic return to America-past...
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Vol. 1, No. 2, Autumn

Marguerite Duras's Aural World: A Study of the Mise-En-Son of India Song
The cinema of Marguerite Duras is characterized by the notion that a film is nothing but a highly complex mental construct, a universe where memories and senses are reorganized under subjective orders. In contrast to other filmmakers who probably share...
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Changing Tunes: The Use of Pre-Existing Music in Film
Phil Powrie and Robynn Stilwell, eds., Changing Tunes: The Use of Pre-existing Music in Film, (Aldershot: Ashgate, 2006), 205pp.review by Alexander BinnsThe idea of neglect, a feeling - perhaps self-consciously invoked - that the discipline has been...
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The Musical: Race, Gender and Performance/The American Musical and the Performance of Personal Identity
Susan Smith, The Musical: Race, Gender and Performance, (London: Wallflower Press, 2005), 130pp.Raymond Knapp, The American Musical and the Performance of Personal Identity, (Princeton: Princeton University Press, 2006), 470pp.review by Connie WallcraftIn...
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Tunes for 'Toons: Music and the Hollywood Cartoon
Daniel Goldmark, Tunes for 'Toons: Music and the Hollywood Cartoon, (Berkeley: University of California Press, 2005), 225pp.review by Rebecca CoyleAnimation film has proven enduringly popular with cinema audiences. In recent decades, the box office successes...
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Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TV/Music for New Media: Composing for Videogames, Web Sites, Presentations and Other Interactive Media
Richard Davis, Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TV, (Boston: Berklee Press, 1999), 378pp.Paul Hoffert, Music for New Media: Composing for Videogames, Web Sites, Presentations and other Interactive Media,...
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Vol. 1, No. 1, Spring

Moving Image, Moving Target
For many of us, the inauguration of a new journal devoted to Music, Sound, and the Moving Image provides substantial cause for celebration. As recently as a decade ago, studies devoted to media sound were rare indeed. The past few years have brought...
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Copyright and Scholars' Rights
I recently spent several hours trying to sort out the rights needed to include a still image from a film in a book chapter for an edited collection of academic essays. Everyone was helpful, but it didn't detract from the fact that considerable persistence...
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Filling in Holes: Television Music as a Recuperation of Popular Music on Television
When it comes to the scholarly study of popular music, television, in its various global, historical, and industrial manifestations, has a bad reputation. For example, in a 2002 Popular Music article, Simon Frith, after documenting rock music's debt...
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Music and Memory in Advertising: Music as a Device of Implicit Learning and Recall
IntroductionBased on the blueprints of film music theory, the musical element in a commercial TV spot reinforces or directs the viewer's attention towards the elements that the advertiser wants to emphasise. Music in TV commercials, as in film, may be...
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Sonic Hybridity and Visual Dualism in the Work of Sussan Deyhim and Shirin Neshat
IntroductionThe collaborations between the Iranian exile filmmaker Shirin Neshat and the vocalist/composer Sussan Deyhim, also Iranian-born and New York-based, have been at the forefront of debates concerning crosscultural artefacts. Their experimental...
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'BilderMusik': Panoramen, Tableaux Vivants Und Lichtbilder Als Multimediale Darstellungsformen in Theater- Und Musikaufführungen Vom 19. Bis Zum Frühen 20. Jahrhundert
Anno Mungen, 'BilderMusik': Panoramen, Tableaux vivants und Lichtbilder als multimediale Darstellungsformen in Theater- und Musikaufführungen vom 19. bis zum frühen 20. Jahrhundert, Filmstudien, Band 45, 2 vols. (Remscheid: Gardez! Verlag, 2006)From...
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Cover Image: Oskar Fischinger
Our cover image is a still from Oskar Fischinger's Allegretto (1936-43), reproduced by kind permission from the Elfriede Fischinger Trust. In launching this journal we felt it appropriate to reference Fischinger, a pioneer filmmaker whose work anticipates...
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