Popular music and multimedia:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Farnham, Surrey [u.a.]
Ashgate
2011
|
| Schriftenreihe: | The library of essays on popular music
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXIX, 506 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9780754629610 |
Internformat
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| 245 | 1 | 0 | |a Popular music and multimedia |c ed. by Julie McQuinn |
| 264 | 1 | |a Farnham, Surrey [u.a.] |b Ashgate |c 2011 | |
| 300 | |a XXIX, 506 S. |b Ill., graph. Darst., Notenbeisp. | ||
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| 490 | 0 | |a The library of essays on popular music | |
| 650 | 4 | |a Popular music |x History and criticism | |
| 650 | 4 | |a Popular music in motion pictures | |
| 650 | 4 | |a Television and popular music | |
| 650 | 4 | |a Music videos |x History and criticism | |
| 650 | 4 | |a Video game music |x History and criticism | |
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Datensatz im Suchindex
| _version_ | 1804148455230144512 |
|---|---|
| adam_text | Contents
Acknowledgements
vii
Series Preface
ix
Introduction: The Productive Potential of Interactivity
xi
PART I CROSS-GENRE ANALYSIS
1
Robynn J.
Stilwell (1995),
In the Air Tonight: Text, Intertextuality and the
Construction of Meaning , Popular Music and Society,
19,
pp.
67-103. 3
PARTII FILM
2
Kay Dickinson
(2001 ),
Pop, Speed and the MTV Aesthetic in Recent Teen
Films , Scope: An Online Journal of Film and TV Studies, [pp.
43-54]. 43
3
Lisa
Coulthard (2009),
Torture Tunes:
Tarantino,
Popular Music and New
Hollywood
Ultraviolence ,
Music and the Moving Image,
2,
[pp.
55-64]. 55
4
Mark Mazullo
(2005),
Remembering Pop: David Lynch and the Sound of the
60s ,
American Music,
23,
pp.
493-513. 65
5
Victoria E. Johnson
(1997),
Polyphony and Cultural Expression: Interpreting
Musical Traditions in Do the Right Thing , in Mark A. Reid
(ed.),
Spike Lee s
Do the Right Thing, Cambridge: Cambridge University Press, pp.
50-72. 87
6
Diana Sandars
(2005),
From the Warehouse to the Multiplex: Techno and Rave
Culture s Reconfiguration of Late
1990s
Sci-fi Spectacle as Musical Performance ,
Screening the Past,
18,
[pp.
111 -26]. 111
7
Caryl Flinn
(2004),
The Music that Lola Ran To , in Nora M. Aleter and
Lutz
Koepnick
(eds),
Sound Matters: Essays on the Acoustics of Modern German
Culture, New York:
Berghahn
Books, pp.
197-213. 127
8
Natalie
Sarrazin (2008),
Celluloid Love Songs: Musical modus
operandi
and the
Dramatic Aesthetics of Romantic Hindi Film , Popular Music,
27,
pp.
393—411. 145
9
Jeff Smith
(2005),
The Edge of Seventeen: Class, Age and Popular Music in
Richard Linklater s School of Rock , Screening the Past,
18,
[pp.
165-80]. 165
PART III TELEVISION
10
Su
Holmes
(2004),
Reality Goes Pop! Reality TV, Popular Music and
Narratives of Stardom in Pop
Idoľ,
Television and New Media,
5,
pp.
147-72. 183
11
Karen Lury
(2002),
Chewing Gum for the Ears: Children s Television and
Popular Music , Popular Music,
21,
pp.
291-305. 209
Popular
Music and Multimedia
12
Bethany Klein
(2008),
In Perfect Harmony: Popular Music and Cola Advertising ,
Popular Music and Society,
31,
pp.
1-20. 225
13
Robynn J.
Stilwell (2003),
It May Look Like a Living Room...: The Musical
Number and the Sitcom , ECHO,
5,
[pp.
245-74]. 245
14
Julie Brown
(2001 ),
Ally
McBeaľs
Postmodern Soundtrack , Journal of the
Royal Musical Association,
126,
pp.
275-303. 275
15
Faye Woods
(2008),
Nostalgia, Music and the Television Past Revisited in
American Dreams , Music, Sound, and the Moving Image,
2,
pp.
27-50. 305
PART IV MUSIC VIDEO
16
Lori Burns and
Jada
Watson
(2010),
Subjective Perspectives through Word,
Image and Sound: Temporality, Narrative Agency and Embodiment in the
Dixie Chicks Video Top of the World , Music, Sound, and the Moving
Image,
4,
pp.
3-37. 331
17
Carol Vernallis
(2001),
The Kindest Cut: Functions and Meanings of Music
Video Editing , Screen,
42,
pp. 21^t8.
367
18
Steven Shaviro
(2002),
-The Erotic Life of Machines , Parallax,
8,
pp.
21-31. 395
19
Sarah Kerton
(2006),
Too Much,
Tatu
Young: Queering Politics in the World
of
Tatu ,
in Sheila Whiteley and Jennifer Rycenga
(eds),
Queering the Popular
Pitch, New York: Routledge, pp.
155-67. 407
PARTV VIDEOGAMES
20
Karen Collins
(2008),
Grand Theft Auto? Popular Music and Intellectual
Property in Video Games , Music and the Moving Image,
1,
[pp.
423-41]. 423
21
Joanna
Demers
(2006),
Dancing Machines: Dance Dance Revolution,
Cybernetic Dance and Musical Taste , Popular Music,
25,
pp.
401-14. 443
22
Kin Miller
(2007),
Jacking the Dial: Radio, Race and Place in Grand Theft
Auto Ethnomusicology,
51,
pp.
402-38. 457
Name Index
495
|
| any_adam_object | 1 |
| author2 | McQuinn, Julie |
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| callnumber-first | M - Music |
| callnumber-label | ML3470 |
| callnumber-raw | ML3470 |
| callnumber-search | ML3470 |
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| callnumber-subject | ML - Literature on Music |
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| ctrlnum | (OCoLC)756372136 (DE-599)BVBBV039611946 |
| dewey-full | 781.64/154 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.64/154 |
| dewey-search | 781.64/154 |
| dewey-sort | 3781.64 3154 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft Sozial-/Kulturanthropologie / Empirische Kulturwissenschaft |
| format | Book |
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| title_short | Popular music and multimedia |
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