Several essays use psychoanalytic paradigms. Popular music studies initiated by Simon Firth et al. But those works were not speaking to each other, and thus, to my mind, they did not constitute a field or an object of study. Other writers discuss songs associated with important revelations about character psychology or relationships, or which occur at a key moment in the narrative trajectory. More importantly, it generates excitement for further development of these concepts as well as further investigation of this highly complex and rich area of film studies. Here the pop song can become the location for a set of discourses about consumption.
All provide fresh insight towards the inter-textual fusion of film and song. Historically especially in comparison to the literary and visual aspect there was little written about cinematic sound until very recently. Additionally the books form reduces the area of analysis to expose differences and similarities between these contrasting fields of study. Anahid Kassabian, New York, 2003 Introduction Steve Lannin and Matthew Caley Popular Music is objectively untrue and helps to maim the consciousness of those exposed to it, however hard the individual crippling effects may be to measure. The wide range of methodologies emerging from the contributor selection process provides a fascinating array of variations on a clearly focused theme.
Pop Fiction'sunique essays individually consider one song within a cinematic context. His argument is that interplay between image and abstract sound is in fact dialogue. His approach to economic and cultural aspects of the film-song, parallel works by Holbrook and Hirschmann, who in the Semiotics of Consumption 1993 , interpret films as signifiers of marketing behaviour and sociological force, of which the pop song is another conspicuous example. He does an excellent job of showing how musical, including harmonic, structures make meaning. Stilwell historically situates the use of song in this film and builds her argument through an analysis of the lyrics and structure of the song as well as the complex codes of identification with the song and its artist generated through its multiple uses in other media forms. The song as: role-play, memory trigger, narrator, ghost, marketing device, translator, alienator, membership rite etc.
He further argues that rather than the Kristevian notion of the maternally abject, the song in this scene evokes the masculine-defined abjected anus. Most of the authors have supplied detailed and insightful accounts of the various ways that a well-known song can contribute to our understanding and experience of a movie scene and, on occasion, how this conjunction may open up new readings of the song itself. Pop Fiction's unique essays individually consider one song within a cinematic context. Within this tight structure, an international range of authorities from film, musicology, audio-visual design, contemporary art, cultural studies, sociology, and marketing. Unlike previous collected volumes about pop music in film, where a generalised approach has been adopted, this offers instead a close examination of two pervasive and significant mediums in combination. Although its entries cannot be described as universally excellent, the volume contains only one really weak chapter.
Stilwell In the Air Tonight Phil Collins 1981 Risky Business Paul Brickman 1983 Falling into Coma David Toop Karma Coma Massive Attack 1994 Fallen Angels Wong Kar Wai 1995 Contributors Index Table of Contents provided by Publisher. She refers to scholars like Bazelon and Adorno again who insist that music only gains meaning through the bad listening habits of the participant. Unlike previous collected volumes about pop music in film where a generalised approach has been adopted, it offers instead a close examination of these two most pervasive and significant mediums in contemporary culture. Unlike previous collected volumes about pop music in film, where a generalised approach has been adopted, it offers instead a close examination of these two most pervasive and significant mediums in contemporary culture. The film became an extension of life and both were expected to move to the beat of a similarly compiled score.
Several writers have chosen songs occurring at or near the beginning of the film, since such songs take on substantial preparative responsibilities. Given that the pop song is no longer the exception but the norm within much mainstream cinema, there are surprisingly few books analyzing this relationship. This information is provided by a service that aggregates data from review sources and other sources that are often consulted by libraries, and readers. Additionally the books form reduces the area of analysis to expose differences and similarities between these contrasting fields of study. Many thanks to the Graphic Communications team, particularly George Marks. But what happens if the song becomes more popular after the film is released …? The collection introspects, assembling the pop song into various guises and documenting how individuals dissemble the multiple roles that the pop song plays in cinematic moments.
This is merely the beginning of a journey of association, demonstrating one role in one cinematic situation. Thus the chapter profitably acknowledges that not only is it ultimately impossible to lock down any single reading but, just as a song may take on new implications with each performance context, so the interpretative possibilities of films do not remain forever stable. This is by no means intended as an exhaustive list, but suggested as suitable companion pieces to many of the articles included in Pop Fiction. Although their reasoning is compelling, the term defined by Rick Altman to describe this engagement is supradiegetic, not super-diegetic. Roberts suggests that Baker offers what psychoanalytic theorists call the good voice of the mother, creating a sonorous envelope in which the listening subject can bask.
The collection introspects, assembling the pop song into various guises and documenting how individuals dissemble the multiple roles that the pop song plays in cinematic moments. Pop Fiction is an important contribution to film music studies; it offers a view of the field as it is practiced now. It has multifarious abilities to extend the screen through affective and subjective dimensions, with limitless transcendence of the image. One entry considers the performance of a well-known song by lead characters in the film. Many important essays of cinematic dissection have previously failed to locate the position of an audio aspect at all. Pop Fiction's unique essays individually consider one song within a cinematic context. Unlike previous collected volumes about pop music in film, where a generalised approach has been adopted, this offers instead a close examination of two pervasive and significant mediums in combination.
This contention is offered as explanation for their exclusion of a consideration of the use of the compiled soundtrack in contemporary musicals. Register a Free 1 month Trial Account. Such careful musical analysis will, I believe, be central to the future of film music studies. Pop Fiction's unique essays individually consider one song within a cinematic context. The pop song adds its own suite of meanings to a films, and how this heady mix is managed is of primary importance to whether the film succeeds in its endeavours - be they commercial, creative or political. Created on: Thursday, 2 March 2006 Last Updated: 2-Mar-06. In a detailed and thought-provoking essay, Morris B.