The Journal of film music. Anahid Kassabian: Hearing Film: Tracking. Identifications in Contemporary Hollywood Film Music. New York and London: Routledge. While Anahid Kassabian also largely draws on Hollywood films for her case studies, her Hearing Film book is refreshing in dealing with films of. Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge, Roberston.
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Preview — Hearing Film by Anahid Kassabian.
Matthew rated it it was amazing Dec 29, There are no discussion topics on this book yet. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically.
This book is not yet featured on Listopia. The Value of Popular Music. I fully recommend the book to all interested in an important link in the history of jazz. Ida Ottesen marked it as to-read Feb 16, Hearing Film offers the first critical examination of References to this book Experiencing Music Video: Oxford Bibliographies Online Research Guide.
The band toured the vaudeville circuit from to Sanna marked it as to-read Apr 04, All That Hollywood Allows. While demonstrating the various ways hearijg which popular musics work within different kkassabian film scores, Kassabian highlights how such applications of international Anglophone musical kassxbian in film are culturally informed and identity informing. Furthermore, there is more continuity and precedent from the pre-sampling era than Katz lets on.
The Cambridge History of Postmodern Literature. For rural Europe, the influence was essentially vestigial; for Africa, far more immediate.
In their own terms, they have clearly succeeded. In the latter, he creates a helpful vocabulary around seven useful concepts—portability, receptivity, repeatability, temporality, manipulability, tangibility in visibility—but then mostly ignores them for the remainder of the work. It must be heard, and to be heard, it necessarily will adhere to any number of aesthetic and historical requirements and engagements with music both in and outside of cinematic contexts.
In these critical contexts, Kassabian found it at least odd that despite the widespread use of popular music in film, it was neglected or marginalized in film music scholarship, and that despite the contemporary attention to audience, the audience had been somehow removed from the cine-musical experience in much of writing film and film music.
See if you have enough points for this item. From the start, pentatonicism showed its staying power, resulting in among other things: For example, in the swing era, Jimmy Dorsey famously said he could always tell a hit by how the floor filled up with people in response to the opening riff of a song; i.
And finally, in “Opening Scores,” she considers how films such as Dangerous Minds, The Substitute, Mississippi Masala and Corrina, Corrina bring together several different entry points of identification through their scores. But in Part 2, the author hits his stride. The Cultural Study of Music. How To Be Gay. Return to Book Page.
Igrowastreesgrow marked it as to-read Mar 08, The book reads like a dream. Like the music it talks about, it is a some- what fragmented collection of texts, concerned with widely diverse issues; yet, once consumed, it reveals itself as a whole. Nikhilesh marked it as to-read May 15, Sapphire Ng marked it as to-read Apr 29, How Music Works in Film.
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Overall rating No ratings yet 0. The Making of a Pop Music Phenomenon.
Hearing Film by Anahid Kassabian
Help Center Find new research papers in: Did not they produce soundscapes of global influence, as well as pioneer what sound reproduction technologies and studios could do? You’ve successfully reported this review. Also includes eleven musical examples.
Vartan Balassanian marked it as to-read Feb 26, Hearing Film by Anahid Kassabian. Philip marked it as to-read Jul 19, Alexandra added it Jan 11,