Yoshiharu Tezuka
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9789888083329
- eISBN:
- 9789882209282
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888083329.001.0001
- Subject:
- Film, Television and Radio, Film
Japan's film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With ...
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Japan's film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With careful research and unique first-person observations drawn from years of working within the international industry of Japanese film, this book aims to examine how different generations of Japanese filmmakers engaged and interacted with the structural opportunities and limitations posed by external forces, and how their subjectivity has been shaped by their transnational experiences and has changed as a result. Having been through the globalization of the last part of the twentieth century, are Japanese themselves and overseas consumers of Japanese culture really becoming more cosmopolitan? If so, what does this mean for Japan's national culture and the traditional sense of national belonging among Japanese people?Less
Japan's film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With careful research and unique first-person observations drawn from years of working within the international industry of Japanese film, this book aims to examine how different generations of Japanese filmmakers engaged and interacted with the structural opportunities and limitations posed by external forces, and how their subjectivity has been shaped by their transnational experiences and has changed as a result. Having been through the globalization of the last part of the twentieth century, are Japanese themselves and overseas consumers of Japanese culture really becoming more cosmopolitan? If so, what does this mean for Japan's national culture and the traditional sense of national belonging among Japanese people?
Andreas C. Lehmann, John A. Sloboda, and Robert H. Woody
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195146103
- eISBN:
- 9780199851164
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146103.001.0001
- Subject:
- Music, Psychology of Music
This book provides a concise, accessible, and up-to-date introduction to psychological research for musicians, performers, music educators, and studio teachers. Designed to address the needs and ...
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This book provides a concise, accessible, and up-to-date introduction to psychological research for musicians, performers, music educators, and studio teachers. Designed to address the needs and priorities of the performing musician rather than the research community, it reviews the relevant psychological research findings in relation to situations and issues faced by musicians, and draws out practical implications for the practice of teaching and performance. Rather than a list of dos and don'ts, the book equips musicians with an understanding of the basic psychological principles that underlie music performance, enabling each reader to apply the content flexibly to the task at hand. Following a brief review of the scientific method as a way of thinking about the issues and problems in music, the text addresses the nature–nurture problem, identification and assessment of musical aptitude, musical development, adult skill maintenance, technical and expressive skills, practice, interpretation and expressivity, sight-reading, memorization, creativity, and composition, performance anxiety, critical listening, and teaching and learning. While there is a large body of empirical research regarding music, most musicians lack the scientific training to interpret these studies. This text bridges this gap by relating these skills to the musician's experiences, addressing their needs directly with non-technical language and practical application. It includes multiple illustrations, brief music examples, cases, questions, and suggestions for further reading.Less
This book provides a concise, accessible, and up-to-date introduction to psychological research for musicians, performers, music educators, and studio teachers. Designed to address the needs and priorities of the performing musician rather than the research community, it reviews the relevant psychological research findings in relation to situations and issues faced by musicians, and draws out practical implications for the practice of teaching and performance. Rather than a list of dos and don'ts, the book equips musicians with an understanding of the basic psychological principles that underlie music performance, enabling each reader to apply the content flexibly to the task at hand. Following a brief review of the scientific method as a way of thinking about the issues and problems in music, the text addresses the nature–nurture problem, identification and assessment of musical aptitude, musical development, adult skill maintenance, technical and expressive skills, practice, interpretation and expressivity, sight-reading, memorization, creativity, and composition, performance anxiety, critical listening, and teaching and learning. While there is a large body of empirical research regarding music, most musicians lack the scientific training to interpret these studies. This text bridges this gap by relating these skills to the musician's experiences, addressing their needs directly with non-technical language and practical application. It includes multiple illustrations, brief music examples, cases, questions, and suggestions for further reading.
Barbara Walczak and Una Kai
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780813032528
- eISBN:
- 9780813046310
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813032528.001.0001
- Subject:
- Music, Dance
Widely regarded as the foremost choreographer of contemporary ballet, George Balanchine was, and continues to be, an institution and major inspiration in the world of dance. This book provides a ...
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Widely regarded as the foremost choreographer of contemporary ballet, George Balanchine was, and continues to be, an institution and major inspiration in the world of dance. This book provides a technical explanation of the stylistic approaches that he taught in New York City between 1940 and 1960, as recorded by two prominent dancers who studied with him at that time. It replicates moments in the studio with the influential teacher, describing his instructions and corrections for twenty-four classes. These lessons not only introduce Balanchine's methods for executing steps, but also discuss the organization and development of his classes, shedding light on the aesthetics of his unique and celebrated style of movement.Less
Widely regarded as the foremost choreographer of contemporary ballet, George Balanchine was, and continues to be, an institution and major inspiration in the world of dance. This book provides a technical explanation of the stylistic approaches that he taught in New York City between 1940 and 1960, as recorded by two prominent dancers who studied with him at that time. It replicates moments in the studio with the influential teacher, describing his instructions and corrections for twenty-four classes. These lessons not only introduce Balanchine's methods for executing steps, but also discuss the organization and development of his classes, shedding light on the aesthetics of his unique and celebrated style of movement.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0007
- Subject:
- Music, History, American
This chapter focuses on the Hollywood career of Dorothy Fields and Jimmy McHugh. McHugh and Fields went to Hollywood as a songwriting team, like Rodgers and Hart, or George and Ira Gershwin. They ...
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This chapter focuses on the Hollywood career of Dorothy Fields and Jimmy McHugh. McHugh and Fields went to Hollywood as a songwriting team, like Rodgers and Hart, or George and Ira Gershwin. They signed their first contract with MGM studios on October 3, 1929, just a few weeks before the stock market crash. The first film that Dorothy and Jimmy provided songs for, Love in the Rough (1930), was the sort of cheery fare that would become typical of musicals produced during the Depression.Less
This chapter focuses on the Hollywood career of Dorothy Fields and Jimmy McHugh. McHugh and Fields went to Hollywood as a songwriting team, like Rodgers and Hart, or George and Ira Gershwin. They signed their first contract with MGM studios on October 3, 1929, just a few weeks before the stock market crash. The first film that Dorothy and Jimmy provided songs for, Love in the Rough (1930), was the sort of cheery fare that would become typical of musicals produced during the Depression.
Ron Rodman
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195340242
- eISBN:
- 9780199863778
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340242.003.0007
- Subject:
- Music, Popular, History, American
Besides its role as a narrative agent, music has been featured in television to pleasure its audience, creating what Carolyn Abbate would call a “drastic” experience. However, the pleasures of ...
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Besides its role as a narrative agent, music has been featured in television to pleasure its audience, creating what Carolyn Abbate would call a “drastic” experience. However, the pleasures of television music are often highly mediated and restrained, permitting the audience to derive culturally based pleasure (what Barthes would call plaisir) from the music but not a more visceral, primordial pleasure (jouissance). This chapter surveys the musical variety show and situation comedies that employ music. While musical variety shows have served as promotional vehicles for artists whom TV audiences find amenable (Perry Como, Dinah Shore, Andy Williams), throughout television's history many situation comedies have been presented as mini‐musicals in which the narrative action of the program is interrupted by a musical presentation on‐screen. Programs produced by Desilu Studios in the 1950s and 1960s, such as I Love Lucy, The Dick Van Dyke Show, and The Andy Griffith Show, often imitated the Hollywood film musical by featuring musical presentations of a show‐within‐a‐show to showcase musical talent. Such scenes would interrupt the narrative flow of the episode, and so some narrative pretense would be made to accommodate the musical interruption.Less
Besides its role as a narrative agent, music has been featured in television to pleasure its audience, creating what Carolyn Abbate would call a “drastic” experience. However, the pleasures of television music are often highly mediated and restrained, permitting the audience to derive culturally based pleasure (what Barthes would call plaisir) from the music but not a more visceral, primordial pleasure (jouissance). This chapter surveys the musical variety show and situation comedies that employ music. While musical variety shows have served as promotional vehicles for artists whom TV audiences find amenable (Perry Como, Dinah Shore, Andy Williams), throughout television's history many situation comedies have been presented as mini‐musicals in which the narrative action of the program is interrupted by a musical presentation on‐screen. Programs produced by Desilu Studios in the 1950s and 1960s, such as I Love Lucy, The Dick Van Dyke Show, and The Andy Griffith Show, often imitated the Hollywood film musical by featuring musical presentations of a show‐within‐a‐show to showcase musical talent. Such scenes would interrupt the narrative flow of the episode, and so some narrative pretense would be made to accommodate the musical interruption.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0089
- Subject:
- Music, History, Western
The Sinfonia Antartica was suggested by the film Scott of the Antarctic, which was produced by Ealing Studios a few years ago. Some of the themes are derived from my incidental music to that film. ...
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The Sinfonia Antartica was suggested by the film Scott of the Antarctic, which was produced by Ealing Studios a few years ago. Some of the themes are derived from my incidental music to that film. The Musical Director was Ernest Irving. The Sinfonia is therefore gratefully dedicated to him. A large orchestra is used, including a vibraphone, a wind machine, and women's voices used orchestrally. There are five movements: Prelude, Scherzo, Landscape, Intermezzo, and Epilogue. Each movement is headed by an appropriate quotation. Other themes follow leading to a big climax. The bell passage comes in again, suddenly very soft. The voices are heard again and the opening flourish, first loud and then soft, leads to a complete repetition of the beginning of the Prelude. Then the solo singer is heard again and the music dies down to nothing, except for the voices and the Antarctic wind.Less
The Sinfonia Antartica was suggested by the film Scott of the Antarctic, which was produced by Ealing Studios a few years ago. Some of the themes are derived from my incidental music to that film. The Musical Director was Ernest Irving. The Sinfonia is therefore gratefully dedicated to him. A large orchestra is used, including a vibraphone, a wind machine, and women's voices used orchestrally. There are five movements: Prelude, Scherzo, Landscape, Intermezzo, and Epilogue. Each movement is headed by an appropriate quotation. Other themes follow leading to a big climax. The bell passage comes in again, suddenly very soft. The voices are heard again and the opening flourish, first loud and then soft, leads to a complete repetition of the beginning of the Prelude. Then the solo singer is heard again and the music dies down to nothing, except for the voices and the Antarctic wind.
Ryan André Brasseaux
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195343069
- eISBN:
- 9780199866977
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195343069.003.0003
- Subject:
- Music, History, American
This chapter examines the dawn of Cajun recording. The Cajun community’s relationship to recording technology, the evolving nature of America’s recording industry, and Cajun music’s relationship to ...
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This chapter examines the dawn of Cajun recording. The Cajun community’s relationship to recording technology, the evolving nature of America’s recording industry, and Cajun music’s relationship to the ethnic, race, and hillbilly markets, are examined to illustrate the cultural intersections between the Bayou Country and America writ large. The pioneering recording careers of Joe Falcon, Cleoma Breaux Falcon, and Leo Soileau are also offered as further examples of the recording industry’s impact on local traditions and perceptions of Cajun music.Less
This chapter examines the dawn of Cajun recording. The Cajun community’s relationship to recording technology, the evolving nature of America’s recording industry, and Cajun music’s relationship to the ethnic, race, and hillbilly markets, are examined to illustrate the cultural intersections between the Bayou Country and America writ large. The pioneering recording careers of Joe Falcon, Cleoma Breaux Falcon, and Leo Soileau are also offered as further examples of the recording industry’s impact on local traditions and perceptions of Cajun music.
Ryan André Brasseaux
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195343069
- eISBN:
- 9780199866977
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195343069.003.0004
- Subject:
- Music, History, American
Bayou Country’s musical terrain and the cultural and historical undercurrents that expanded the genre’s repertoire, stylistic range, and instrumental conventions are outlined in this chapter. Three ...
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Bayou Country’s musical terrain and the cultural and historical undercurrents that expanded the genre’s repertoire, stylistic range, and instrumental conventions are outlined in this chapter. Three factors encouraged heterogeneity in the Louisiana’s musical traditions: a musical network that stimulated exchange between musicians, thereby diversifying Louisiana’s soundscape; the historical idiosyncrasies and ethnic variation shaping cultural production in rural enclaves; and the tension between traditional and innovative tendencies within the genre. Residual colonial song structures performed by guitarist Blind Uncle Gaspard, Dennis McGee’s enigmatic fiddling that crossed stylistic and racial boundaries, the friction between conservative and progressive inclinations in regional Cajun popular culture, as performed by Leo Soileau and Moïse Robin, and Cajun readings of American popular culture as interpreted by accordionists Lawrence Walker and Nathan Abshire are used as points of departure in this discussion of heterogeneous musical expression on 78 rpm record.Less
Bayou Country’s musical terrain and the cultural and historical undercurrents that expanded the genre’s repertoire, stylistic range, and instrumental conventions are outlined in this chapter. Three factors encouraged heterogeneity in the Louisiana’s musical traditions: a musical network that stimulated exchange between musicians, thereby diversifying Louisiana’s soundscape; the historical idiosyncrasies and ethnic variation shaping cultural production in rural enclaves; and the tension between traditional and innovative tendencies within the genre. Residual colonial song structures performed by guitarist Blind Uncle Gaspard, Dennis McGee’s enigmatic fiddling that crossed stylistic and racial boundaries, the friction between conservative and progressive inclinations in regional Cajun popular culture, as performed by Leo Soileau and Moïse Robin, and Cajun readings of American popular culture as interpreted by accordionists Lawrence Walker and Nathan Abshire are used as points of departure in this discussion of heterogeneous musical expression on 78 rpm record.
Brian R. Jacobson
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231172813
- eISBN:
- 9780231539661
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172813.001.0001
- Subject:
- Film, Television and Radio, Film
By 1915, Hollywood had become the epicenter of American filmmaking, with studio “dream factories” structuring its vast production. Filmmakers designed Hollywood studios with a distinct artistic and ...
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By 1915, Hollywood had become the epicenter of American filmmaking, with studio “dream factories” structuring its vast production. Filmmakers designed Hollywood studios with a distinct artistic and industrial mission in mind, which in turn influenced the form, content, and business of the films that were made and the impressions of the people who viewed them. The first book to retell the history of film studio architecture, Studios Before the System expands the social and cultural footprint of cinema’s virtual worlds and their contribution to wider developments in global technology and urban modernism. Focusing on six significant early film corporations in the United States and France—the Edison Manufacturing Company, American Mutoscope and Biograph, American Vitagraph, Georges Méliès’s Star Films, Gaumont, and Pathé Frères—as well as smaller producers and film companies, Studios Before the System describes how filmmakers first envisioned the space they needed and then sourced modern materials to create novel film worlds. Artificially reproducing the natural environment, film studios helped usher in the world’s Second Industrial Revolution and what Lewis Mumford would later call the “specific art of the machine.” From housing workshops for set, prop, and costume design to dressing rooms and writing departments, studio architecture was always present though rarely visible to the average spectator in the twentieth century, providing the scaffolding under which culture, film aesthetics, and our relation to lived space took shape.Less
By 1915, Hollywood had become the epicenter of American filmmaking, with studio “dream factories” structuring its vast production. Filmmakers designed Hollywood studios with a distinct artistic and industrial mission in mind, which in turn influenced the form, content, and business of the films that were made and the impressions of the people who viewed them. The first book to retell the history of film studio architecture, Studios Before the System expands the social and cultural footprint of cinema’s virtual worlds and their contribution to wider developments in global technology and urban modernism. Focusing on six significant early film corporations in the United States and France—the Edison Manufacturing Company, American Mutoscope and Biograph, American Vitagraph, Georges Méliès’s Star Films, Gaumont, and Pathé Frères—as well as smaller producers and film companies, Studios Before the System describes how filmmakers first envisioned the space they needed and then sourced modern materials to create novel film worlds. Artificially reproducing the natural environment, film studios helped usher in the world’s Second Industrial Revolution and what Lewis Mumford would later call the “specific art of the machine.” From housing workshops for set, prop, and costume design to dressing rooms and writing departments, studio architecture was always present though rarely visible to the average spectator in the twentieth century, providing the scaffolding under which culture, film aesthetics, and our relation to lived space took shape.
Brian R. Jacobson
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231172813
- eISBN:
- 9780231539661
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172813.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter examines W.K.L. Dickson’s Black Maria studio and its critical role in Dickson and Thomas Edison’s invention of moving images. It argues that the Black Maria films’ “framed aesthetic” was ...
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This chapter examines W.K.L. Dickson’s Black Maria studio and its critical role in Dickson and Thomas Edison’s invention of moving images. It argues that the Black Maria films’ “framed aesthetic” was the product of the studio’s architectural form and reflected the technological enframing by which Dickson’s design strove to put the sun on reserve for cinematic representation.Less
This chapter examines W.K.L. Dickson’s Black Maria studio and its critical role in Dickson and Thomas Edison’s invention of moving images. It argues that the Black Maria films’ “framed aesthetic” was the product of the studio’s architectural form and reflected the technological enframing by which Dickson’s design strove to put the sun on reserve for cinematic representation.
Brian R. Jacobson
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231172813
- eISBN:
- 9780231539661
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172813.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter examines Georges Méliès's glass-and-iron studio, the first studio in France and the model that would become the standard form for studio architecture through the 1910s. Situating the ...
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This chapter examines Georges Méliès's glass-and-iron studio, the first studio in France and the model that would become the standard form for studio architecture through the 1910s. Situating the development of “glass house” studios in nineteenth-century glass-and-iron architecture, the chapter argues that the same spatial and material qualities–including spatial fluidity, material plasticity, and artificiality–that contemporary critics observed in the late nineteenth-century architectural forms characterized the glass studios and reappeared in the form of the films made in them.Less
This chapter examines Georges Méliès's glass-and-iron studio, the first studio in France and the model that would become the standard form for studio architecture through the 1910s. Situating the development of “glass house” studios in nineteenth-century glass-and-iron architecture, the chapter argues that the same spatial and material qualities–including spatial fluidity, material plasticity, and artificiality–that contemporary critics observed in the late nineteenth-century architectural forms characterized the glass studios and reappeared in the form of the films made in them.
Brian R. Jacobson
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231172813
- eISBN:
- 9780231539661
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172813.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter examines how American film companies in New York used cutting-edge building technologies and materials–including reinforced concrete, prismatic glass, and steel–to compete for the ...
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This chapter examines how American film companies in New York used cutting-edge building technologies and materials–including reinforced concrete, prismatic glass, and steel–to compete for the twentieth century’s most advanced film studios. It argues that the history of film’s relationship to the city and to architecture remains incomplete without more precise knowledge of cinema’s place in the construction of the built environment.Less
This chapter examines how American film companies in New York used cutting-edge building technologies and materials–including reinforced concrete, prismatic glass, and steel–to compete for the twentieth century’s most advanced film studios. It argues that the history of film’s relationship to the city and to architecture remains incomplete without more precise knowledge of cinema’s place in the construction of the built environment.
Brian R. Jacobson
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231172813
- eISBN:
- 9780231539661
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172813.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter analyzes the expansion of film studios into mass production centers in major Western cities, focusing on Gaumont and Pathé’s studios in Paris. As these studios began to look and operate ...
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This chapter analyzes the expansion of film studios into mass production centers in major Western cities, focusing on Gaumont and Pathé’s studios in Paris. As these studios began to look and operate more like the industrial centers of the later Hollywood “dream factory system,” their architectural spaces shaped concurrent (or “convergent”) practices of cinematic, artistic, and industrial production, all while adapting to the changing infrastructure of modernizing Paris.Less
This chapter analyzes the expansion of film studios into mass production centers in major Western cities, focusing on Gaumont and Pathé’s studios in Paris. As these studios began to look and operate more like the industrial centers of the later Hollywood “dream factory system,” their architectural spaces shaped concurrent (or “convergent”) practices of cinematic, artistic, and industrial production, all while adapting to the changing infrastructure of modernizing Paris.
Brian R. Jacobson
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231172813
- eISBN:
- 9780231539661
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172813.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter focuses on the transition to Hollywood and the peculiar reinvention of studio form and the emergence of both the studio backlot and the concept of “location” there between 1909 and 1915. ...
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This chapter focuses on the transition to Hollywood and the peculiar reinvention of studio form and the emergence of both the studio backlot and the concept of “location” there between 1909 and 1915. The creation of studio backlots, it argues, offered a working solution to the same basic tension that drove studio design two decades earlier: filmmakers still needed bright sunlight, and they continued to create technological spaces to regulate the sun and put nature on reserve for cinematic representation.Less
This chapter focuses on the transition to Hollywood and the peculiar reinvention of studio form and the emergence of both the studio backlot and the concept of “location” there between 1909 and 1915. The creation of studio backlots, it argues, offered a working solution to the same basic tension that drove studio design two decades earlier: filmmakers still needed bright sunlight, and they continued to create technological spaces to regulate the sun and put nature on reserve for cinematic representation.
Nilo Couret
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780520296848
- eISBN:
- 9780520969162
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520296848.001.0001
- Subject:
- Film, Television and Radio, Film
This book reconceptualizes both the geopolitical boundaries and the periodization of Latin American film histories in order to reveal a predominant comic mode in the cultural practices of Latin ...
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This book reconceptualizes both the geopolitical boundaries and the periodization of Latin American film histories in order to reveal a predominant comic mode in the cultural practices of Latin America in the twentieth century. Comedies have been either relegated to the margins of regional film histories in the shadow of the New Latin American Cinema or articulated to the broader socializing and nationalistic function of earlier commercial traditions. Rather than map Latin American cinema according to radical politics, film directors, or film movements—as do conventional film histories—this comparative project examines the formal and narrative operations of Argentine, Brazilian, and Mexican commercially successful comedies released between the 1920s and the 1950s in order to demonstrate how they functioned as peripheral responses to modernization and prefigured the more explicitly political New Latin American Cinema of the 1960s. Each chapter braids empirical research, close reading, film theory, and Latin American studies to argue that Latin American cinema from the studio period became classical in ways that were phenomenally distinct from but structurally akin to those of Hollywood. To that end, each chapter presents one way that classical Hollywood was constructed within film studies and demonstrates how the ways cinema became classical in Hollywood do not occur identically in Latin America. Using an approach that encompasses both textual analysis as well as a range of practices from the film experience, such as stardom, trade and popular publications, and broadcast media, this book proposes thinking classicism as a discourse that mediates and renders the world, looking at the construction of the aesthetic world as diegetic totality and the circulation of the texts and objects in global circuits of economic exchange.Less
This book reconceptualizes both the geopolitical boundaries and the periodization of Latin American film histories in order to reveal a predominant comic mode in the cultural practices of Latin America in the twentieth century. Comedies have been either relegated to the margins of regional film histories in the shadow of the New Latin American Cinema or articulated to the broader socializing and nationalistic function of earlier commercial traditions. Rather than map Latin American cinema according to radical politics, film directors, or film movements—as do conventional film histories—this comparative project examines the formal and narrative operations of Argentine, Brazilian, and Mexican commercially successful comedies released between the 1920s and the 1950s in order to demonstrate how they functioned as peripheral responses to modernization and prefigured the more explicitly political New Latin American Cinema of the 1960s. Each chapter braids empirical research, close reading, film theory, and Latin American studies to argue that Latin American cinema from the studio period became classical in ways that were phenomenally distinct from but structurally akin to those of Hollywood. To that end, each chapter presents one way that classical Hollywood was constructed within film studies and demonstrates how the ways cinema became classical in Hollywood do not occur identically in Latin America. Using an approach that encompasses both textual analysis as well as a range of practices from the film experience, such as stardom, trade and popular publications, and broadcast media, this book proposes thinking classicism as a discourse that mediates and renders the world, looking at the construction of the aesthetic world as diegetic totality and the circulation of the texts and objects in global circuits of economic exchange.
Steven S. Lee
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231173520
- eISBN:
- 9780231540117
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173520.003.0003
- Subject:
- Literature, Criticism/Theory
Chapter 3 traces the passing of the ethnic avant-garde by discussing Langston Hughes' 1956 account of his 1932 Moscow film project--specifically the account's deployment of a racially exclusive ...
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Chapter 3 traces the passing of the ethnic avant-garde by discussing Langston Hughes' 1956 account of his 1932 Moscow film project--specifically the account's deployment of a racially exclusive notion of cultural authenticity. However, the actual film script, discovered in Soviet archives, completely upends Hughes' dismissive description. The Russian-written script points both to a fascinating, experimental film, and to an alternate, avant-gardeist notion of authenticity.Less
Chapter 3 traces the passing of the ethnic avant-garde by discussing Langston Hughes' 1956 account of his 1932 Moscow film project--specifically the account's deployment of a racially exclusive notion of cultural authenticity. However, the actual film script, discovered in Soviet archives, completely upends Hughes' dismissive description. The Russian-written script points both to a fascinating, experimental film, and to an alternate, avant-gardeist notion of authenticity.
Daniel Goldmark
- Published in print:
- 2005
- Published Online:
- May 2012
- ISBN:
- 9780520236172
- eISBN:
- 9780520941205
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520236172.003.0007
- Subject:
- Music, History, American
With the demise of the animation units run by or for major Hollywood companies, the power shifted to independent animation studios that could supply the seemingly insatiable demand for children's ...
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With the demise of the animation units run by or for major Hollywood companies, the power shifted to independent animation studios that could supply the seemingly insatiable demand for children's television programming. In the 1970s and 1980s, Hanna-Barbera, Filmation, DIC, Ruby-Spears, and other film studios paid little attention to (or money for) such luxuries as unique sound effects or original music. At the same time, there was an explosion of cartoons featuring rock bands, including Pebbles and Bamm-Bamm, Josie and the Pussycats, and Jabberjaw. A renaissance in cartoon production occurred in the late 1980s. Reawakened interest in the now-classic Warner Bros. cartoons led Steven Spielberg to produce Tiny Toon Adventures, based on Warner stars and cartoons. At the same time, networks and cable channels commissioned entirely novel series, including Rugrats, Animaniacs, Batman, and Doug. Moreover, contemporary popular music has become a fundamental element in contemporary cartoons. And, of course, we cannot overlook the road map for cartoon music drawn by Carl Stalling and Scott Bradley some seventy-five years ago.Less
With the demise of the animation units run by or for major Hollywood companies, the power shifted to independent animation studios that could supply the seemingly insatiable demand for children's television programming. In the 1970s and 1980s, Hanna-Barbera, Filmation, DIC, Ruby-Spears, and other film studios paid little attention to (or money for) such luxuries as unique sound effects or original music. At the same time, there was an explosion of cartoons featuring rock bands, including Pebbles and Bamm-Bamm, Josie and the Pussycats, and Jabberjaw. A renaissance in cartoon production occurred in the late 1980s. Reawakened interest in the now-classic Warner Bros. cartoons led Steven Spielberg to produce Tiny Toon Adventures, based on Warner stars and cartoons. At the same time, networks and cable channels commissioned entirely novel series, including Rugrats, Animaniacs, Batman, and Doug. Moreover, contemporary popular music has become a fundamental element in contemporary cartoons. And, of course, we cannot overlook the road map for cartoon music drawn by Carl Stalling and Scott Bradley some seventy-five years ago.
Uri McMillan
- Published in print:
- 2012
- Published Online:
- May 2016
- ISBN:
- 9781479802111
- eISBN:
- 9781479865451
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479802111.003.0004
- Subject:
- Society and Culture, Cultural Studies
This chapter focuses on abstract painter Howardena Pindell and her controversial Free, White, and 21 (1980), a video art piece in which Pindell—playing all parts—staged a dialogue between ...
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This chapter focuses on abstract painter Howardena Pindell and her controversial Free, White, and 21 (1980), a video art piece in which Pindell—playing all parts—staged a dialogue between reincarnations of herself and a caricature of a white feminist who callously debunks the veracity of her experiences. The chapter interprets the video as a black feminist counterpublic that is not simply about critique, but also racism-as-trauma; furthermore, it detail Pindell’s performative engagements with cross-racial embodiment and avatar-play. Yet, in efforts to contextualize both the video’s content and Pindell’s career, the chapter begins with an examination of the various political and artistic communities Pindell participated in, or was denied access to, in the late 1960s and 1970s. In doing so, the chapter’s aim is to render visible not only the manifold tensions that arose from the merging of art and politics in this period, but more explicitly the difficulties in being a black woman artist excluded from avant-garde circles (both black and white), partly for making abstract work that was deemed not sufficiently “black.” The last part of the chapter discusses Pindell’s vociferous rebuke of “art world racism” through her involvement in PESTS, an anonymous arts organization. It turns to PESTS’s remains—a flyer, poster replicas, and two obscure newsletters—that serve as public engagements with the invisibility, exclusion, and tokenism faced by artists of color.Less
This chapter focuses on abstract painter Howardena Pindell and her controversial Free, White, and 21 (1980), a video art piece in which Pindell—playing all parts—staged a dialogue between reincarnations of herself and a caricature of a white feminist who callously debunks the veracity of her experiences. The chapter interprets the video as a black feminist counterpublic that is not simply about critique, but also racism-as-trauma; furthermore, it detail Pindell’s performative engagements with cross-racial embodiment and avatar-play. Yet, in efforts to contextualize both the video’s content and Pindell’s career, the chapter begins with an examination of the various political and artistic communities Pindell participated in, or was denied access to, in the late 1960s and 1970s. In doing so, the chapter’s aim is to render visible not only the manifold tensions that arose from the merging of art and politics in this period, but more explicitly the difficulties in being a black woman artist excluded from avant-garde circles (both black and white), partly for making abstract work that was deemed not sufficiently “black.” The last part of the chapter discusses Pindell’s vociferous rebuke of “art world racism” through her involvement in PESTS, an anonymous arts organization. It turns to PESTS’s remains—a flyer, poster replicas, and two obscure newsletters—that serve as public engagements with the invisibility, exclusion, and tokenism faced by artists of color.
Richard Hewett
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781784992989
- eISBN:
- 9781526128362
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992989.001.0001
- Subject:
- Film, Television and Radio, Television
Why study television acting? While works focusing on cinema performance have increased in recent years, small screen drama has been largely neglected – despite the fact that developments in acting ...
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Why study television acting? While works focusing on cinema performance have increased in recent years, small screen drama has been largely neglected – despite the fact that developments in acting style provide as valuable an index of the times and places in which they were created as any other aspect of production. The Changing Spaces of Television Acting addresses this lack by providing an overview of historical changes in performance style from the live era to the present day. Utilised as case studies are programmes from three diverse eras of television production: The Quatermass Experiment (BBC, 1953), which was transmitted live; Doctor Who (BBC, 1963-89), pre-recorded ‘as live’ on videotape; and Survivors (BBC, 1975-77), which swiftly adopted an Outside Broadcast ‘rehearse/record’ model. Each was also re-made in the 2000s, allowing for both a chronological study and a ‘then-and-now’ comparison of television acting. Archive research into production and reception is combined with textual analysis and interviews with actors and production personnel to examine the effects of the shift from multi-camera studio production to single camera film location work. The result is the first book to investigate not only changes in acting style for television drama, but also the underlying factors which influenced them, from production process and technology to direction, actor training and experience. Only by fully comprehending the conditions under which performances are produced can we understand and appreciate the resulting acting style; The Changing Spaces of Television Acting is the first book to comprehensively address this neglected area of research.Less
Why study television acting? While works focusing on cinema performance have increased in recent years, small screen drama has been largely neglected – despite the fact that developments in acting style provide as valuable an index of the times and places in which they were created as any other aspect of production. The Changing Spaces of Television Acting addresses this lack by providing an overview of historical changes in performance style from the live era to the present day. Utilised as case studies are programmes from three diverse eras of television production: The Quatermass Experiment (BBC, 1953), which was transmitted live; Doctor Who (BBC, 1963-89), pre-recorded ‘as live’ on videotape; and Survivors (BBC, 1975-77), which swiftly adopted an Outside Broadcast ‘rehearse/record’ model. Each was also re-made in the 2000s, allowing for both a chronological study and a ‘then-and-now’ comparison of television acting. Archive research into production and reception is combined with textual analysis and interviews with actors and production personnel to examine the effects of the shift from multi-camera studio production to single camera film location work. The result is the first book to investigate not only changes in acting style for television drama, but also the underlying factors which influenced them, from production process and technology to direction, actor training and experience. Only by fully comprehending the conditions under which performances are produced can we understand and appreciate the resulting acting style; The Changing Spaces of Television Acting is the first book to comprehensively address this neglected area of research.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in ...
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Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.Less
Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.
