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 the complex relationship between popular music-based soundtracks and movies. Soundtrack Available aims to fill 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 the use of pre-existing, already popular music, including country, bubble-gum pop, disco, classical, jazz, swing, French cabaret, and showtunes. The films discussed extend from silent film to musicals, and from dramatic and avant-garde films to docu- and rocku-mentaries in India, France, England, Australia, and the United States. Most of the analysis looks at "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 viewer/listener. However, some essays also examine "diegetic" music, that which is incorporated into the reality of the story-a radio or a band playing in the background of a scene. In either case, the volume demonstrates that pop music is a crucial element in the film experience, by exploring in detail how musical pattern and structure relate to filmic patterns of narration, character, editing, framing and mise-en-scene. In addition, contributors examine the life of the soundtrack when it is lifted off the text of the film-how the music circulates and acquires new meanings on its own. 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
What counts as popular music in film? Pamela Robertson Wojcik and Arthur Knight, the editors of Soundtrack Available: Essays on Film and Popular Music, have cast a.
Description : Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 27. Chapters: Blue Streak (soundtrack), Dances with Wolves (soundtrack), Days of Thunder (soundtrack), Forrest Gump (soundtrack), Forrest Gump - Original Motion Picture Score, Ghost Dog: The Way of the Samurai (soundtrack), Godzilla: The Album, Hard Country (album), Immortal (Michael Jackson album), Judgment Night (soundtrack), Michael Jackson's This Is It (album), On the Loose (EP), Piledriver: The Wrestling Album 2, Poetic Justice (soundtrack), Really Rosie, Rush Hour 2 (soundtrack), Singles (soundtrack), Slam (soundtrack), The Fantastic Plastic Machine (soundtrack), The Goonies: Original Motion Picture Soundtrack, The Great White Hype (soundtrack), The Pick of Destiny, True Lies, Woo (soundtrack), You Got Served (soundtrack). Excerpt: The Music That Inspired the Movie Michael Jackson's This Is It (or simply This Is It) is a posthumous two-disc soundtrack album by American recording artist Michael Jackson. Released by Epic Records on October 26, 2009, This Is It features previously released music, as well as six previously unreleased recordings by Michael Jackson. This Is It was released to coincide with the theatrical release of Michael Jackson's This Is It, a concert film documenting Michael Jackson's rehearsals for the This Is It concert series at London's O2 Arena. This Is It is the sixth album to be released by Sony and Motown/Universal since Michael Jackson's death in June 2009. This Is It debuted at number one in fourteen countries, including the United States, Canada, Japan, Italy and France. Aside from charting at number 11 in Finland, This Is It peaked within the top 10 of the charts in other nations. This Is It has been certified Gold, Platinum, and twice-Platinum in multiple countries. This Is It was the twelfth best selling album of 2009 in the United States and the third best selling album of 2009 based on...
Modern appreciation of the film has seen its standing among critics improve. called Mann's original the best of the Lecter series, and magazine described it as "mesmerizing", positing that it directly inspired television series such as and , though calling attention to its "-like overreliance on synthesized sludge". called it "the most aestheticised film of the 1980s", and noted its "chilly integrity". British television channel and production company called it "the most refined screen adaptation of Harris' books", although they found the film's contemporary soundtrack "dated". echoed this sentiment, summing up their review by saying "although it still remains a classic, the film has dated slightly." Retrospective reviews tend to be less critical of the stylized visuals: the 's Ali Barclay called the film "a truly suspenseful, stylish thriller", awarding it four out of five stars, and Nathan Ditum described it in as "complex, disturbing and super-stylish", adding that the 2002 remake could not compete with it. editor Mark Dinning gave the film five stars out of five, praising the "subtlety" of the acting and the "neon angst" of the visuals. Television channel named Dollarhyde's interrogation of Freddy Lounds as one of its in 2007, and Noonan's portrayal of Dollarhyde was praised by Simon Abrams of as "a highlight of his career".
Soundtrack Available : Essays on Film and Popular Music
Films often have different themes for important characters, events, ideas or objects, an idea often associated with 's use of . These may be played in different variations depending on the situation they represent, scattered amongst incidental music. An example of this technique is ' score for the saga, and the numerous themes associated with , , and (see for more details). uses a similar technique, with recurring themes for many main characters and places. Others are less known by casual moviegoers, but well known among score enthusiasts, such as Jerry Goldsmith's underlying theme for the in , or his Klingon theme from which other composers carry over into their Klingon motifs, and he has brought back on numerous occasions as the theme for , most prominent Klingon. employed character themes in the soundtrack for the 2009 animated film , for which he received the Academy Award for Best Score. His orchestral soundtrack for the also depended heavily on character and situation-specific themes.
Læs om Soundtrack Available - Essays on Film and Popular Music
Sheila Benson of the was critical of the film's visuals and soundtrack, comparing it unfavourably with and describing it as a "chic, well-cast wasteland" that "delivers very little". The film's stylistic similarity to was also pointed out by s Dave Beuscher, who felt it was the chief reason for the film's poor box office results. Writing for the , Steve Winn derided the film, claiming its lack of a strong lead role caused it to "fall apart like the shattered mirrors that figure in the crimes". was more favorable in its review, praising the "intelligent camerabatics" and "bold, controlled color scheme". gave the film three stars, calling it "gripping all the way through and surprisingly nonexploitive", although adding that "the holes start to show through" if looked for "too carefully". was, however, nominated for the 1987 for Best Motion Picture.
Read this essay on Popular Music and soundtracks that feature popular music. Soundtrack Available fills life of the soundtrack apart from the film.
Soundtrack Available - Essays on Film and Popular Music ..
Her book Wanted Cultured Ladies Only: Female Stardom and Cinema in India, 1930s to 1950s (University of Illinois Press, 2009) won an Honorable Mention in the 2010 Best First Book Award of the Society for Cinema and Media Studies. Her essays have appeared in The Canadian Journal of Film Studies, South Asian Popular Culture, and Post Script, as well as collections such as The Continuum Companion to Sound in Film and Visual Media (ed. Graeme Harper, 2009), Film Analysis: A Norton Reader (ed. R. L. Rutsky and Jeffrey Gieger, 2005), andSoundtrack Available: Essays on Film and Popular Music, (ed. Arthur Knight and Pamela Wojcik, 2001).