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Leader |
LDR
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pam a 00 |
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Control # |
1
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2001033706 |
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Control # Id |
3
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DLC |
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Date |
5
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20190911110524.0 |
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Fixed Data |
8
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010507s2002 ncu b 001 0 eng |
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LC Card |
10
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$a 2001033706 |
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ISBN |
20
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$a0822328003 (cloth : alk. paper) |
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ISBN |
20
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$a082232797X (pbk. : alk. paper) |
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Obsolete |
39
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$a142496$cTLC |
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Cat. Source |
40
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$aDLC$cDLC$dDLC$dGCG |
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Authen. Ctr. |
42
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$apcc |
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LC Call |
50
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00 |
$aML2075$b.S68 2001 |
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Dewey Class |
82
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00 |
$a781.5/42/09$221 |
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Title |
245
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00 |
$aSoundtrack available :$bessays on film and popular music /$cedited by Pamela Robertson Wojcik and Arthur Knight. |
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Imprint |
260
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$aDurham, NC :$bDuke University Press,$c2001. |
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Phys Descrpt |
300
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$ax, 491 p. :$billus. ;$c24 cm. |
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Note:Bibliog |
504
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$aIncludes bibliographical references and index. |
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Note:Content |
505
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00 |
$tCinema and popular song: the lost tradition /$rRick Altman. -$tSurreal symphonies: L'Age d'or and the discreet charms of classical music /$rPriscilla Barlow. -$t"The future's not ours to see": song, singer, labyrinth in Hitchcock's The Man Who Knew Too Much /$rMurray Pomerance. -$t"You think they call us plastic now...": The Monkees and Head /$rPaul B. Ramaeker. -$tRead men don's sing ballads: the radio crooner in Hollywood, 1929-1933 /$rAllison McCracken. -$tFlower of the asphalt: the Chanteuse Réalist in 1930s French cinema /$rKelley Conway. -$tThe embodied voice: song sequences and stardom in popular Hindi cinema /$rNeepa Majumdar. -$tMusic as ethnic marker in film: the "Jewish" case /$rAndrew P. Killick. -$tSounding the American heart: cultural politics, country music, and contemporary American film /$rBarbara Ching. -$tCrossing musical borders: the soundtrack for Touch of Evil /$rJill Leeper. -$tDocumented/documentary Asians: Gurinder Chadha's I'm British but... and the musical meditation of sonic and visual identities /$rNabeel Zuberi. -$tClass swings: music, race, and social mobility in Broken Strings /$rAdam Knee. -$tBorrowing black masculinity: the role of Johnny Hartman in The Bridges of Madison County /$rKrin Gabbard. -$t"It ain't necessarily so that it ain't necessarily so": AFrican American recordings of Porgy and Bess as film and cultural criticism /$rArthur Knight. -$t"Hollywood has taken on a new color": the Yiddish blackface of Samuel Goldwyn's Porgy and Bess /$rJonathan Gill. -$tPicturizing American cinema: Hindi film songs and the last days of genre /$rCorey K. Creekmur. -$tPopular songs and comic allusion in contemporary cinema /$rJeff Smith. -$tThe girl and the phonograph; or the vamp and the machine revisited /$rPamela Robertson Wojcik. |
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Local Note |
590
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$aRecommended in Best Books for Academic Libraries |
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Subj:Topical |
650
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0 |
$aMotion pictures and music. |
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Subj:Topical |
650
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0 |
$aMotion picture music$xHistory and criticism. |
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Subj:Topical |
650
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0 |
$aPopular music$xHistory and criticism. |
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AE:Pers Name |
700
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1 |
$aWojcik, Pamela Robertson,$d1964- |
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AE:Pers Name |
700
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1 |
$aKnight, Arthur. |
