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 film soundtracks that feature popular music. Soundtrack Available fills 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 movies that use popular songs from a variety of genres, including country, bubble-gum pop, disco, classical, jazz, swing, French cabaret, and showtunes. The films discussed range from silents to musicals, from dramatic and avant-garde films to documentaries in India, France, England, Australia, and the United States. The essays examine both “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 audience—and “diegetic” music—music incorporated into the shared reality of the story and the audience. They include analyses of music written and performed for films, as well as the now common practice of scoring a film with pre-existing songs. By exploring in detail how musical patterns and structures relate to filmic patterns of narration, character, editing, framing, and mise-en-scene, this volume demonstrates that pop music is a crucial element in the film experience. It also analyzes the life of the soundtrack apart from the film, tracing how popular music circulates and acquires new meanings when it becomes an official soundtrack.
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
- Contents
- List of Illustrations
- Acknowledgments
- Overture. Arthur Knight and Pamela Robertson Wojcik
- POPULAR VS. ‘‘SERIOUS’’
- Cinema and Popular Song: The Lost Tradition
- Surreal Symphonies: L’Age d’or and the Discreet Charms of Classical Music
- ‘‘The Future’s Not Ours to See’’: Song, Singer, Labryinth in Hitchcock’s The Man Who Knew Too Much
- ‘‘You Think They Call Us PlasticNow . . .’’: The Monkees and Head
- SINGING STARS
- Real Men Don’t Sing Ballads: The Radio Crooner in Hollywood, 1929–1933
- Flower of the Asphalt: The Chanteuse Réaliste in 1930s French Cinema
- The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema
- MUSIC AS ETHNIC MARKER
- Music as Ethnic Marker in Film:The ‘‘Jewish’’ Case
- Sounding the American Heart: Cultural Politics, Country Music, and Contemporary American Film
- Crossing Musical Borders: TheSoundtrack for Touch of Evil
- Documented/Documentary Asians: Gurinder Chadha’s I’m British But . . . and the Musical Mediation of Sonic and Visual Identities
- AFRICAN AMERICAN IDENTITIES
- Class Swings: Music, Race, andSocial Mobility in Broken Strings
- Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County
- CASE STUDY: PORGY AND BESS
- ‘‘It Ain’t Necessarily So That It Ain’t Necessarily So’’: African American Recordings of Porgy and Bess as Film and Cultural Criticism
- ‘‘Hollywood Has Taken on a New Color’’: The Yiddish Blackface of Samuel Goldwyn’s Porgy and Bess
- CONTEMPORARY COMPILATIONS
- Picturizing American Cinema: Hindi Film Songs and the Last Days of Genre
- Popular Songs and Comic Allusionin Contemporary Cinema
- GENDER AND TECHNOLOGY
- The Girl and the Phonograph; orthe Vamp and the Machine Revisited
- Bibliography
- Contributors
- Index
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