Libros

In recent years, there has been something of an explosion in the performance of live music to silent films. There is a wide range of films with live and new scores that run from the historically accurate orchestral scores to contemporary sounds by groups such as Pet Shop Boys or by experimental composers and gothic heavy metal bands. It is no exaggeration to claim that music constitutes a bridge between the old silent film and the modern audience; music is also a channel for non-scholarly audiences to gain an appreciation of silent films. Music has become a means both for musicians and audiences to understand this bygone film art anew. This book is the first of its kind in that it aims to bring together writings and interviews to delineate the culture of providing music for silent films. It not only has the character of a scholarly work but is also something of a manual in that it discusses how to make music for silent films.

Intersecting Film, Music, and Queerness uses musicology and queer theory to uncover meaning and message in canonical American cinema. This study considers how queer readings are reinforced or nuanced through analysis of musical score. Taking a broad approach to queerness that questions heteronormative and homonormative patriarchal structures, binary relationships, gender assumptions and anxieties, this book challenges existing interpretations of what is progressive and what is retrogressive in cinema. Examined films include Bride of Frankenstein, Louisiana Story, Rudolph the Red-Nosed Reindeer, Blazing Saddles, Edward Scissorhands, Brokeback Mountain, Boys Don't Cry, Transamerica, Thelma & Louise, Go Fish and The Living End, with special attention given to films that subvert or complicate genre. Music is analyzed with concern for composition, intertextual references, absolute musical structures, song lyrics, recording, arrangement, and performance issues. This multidisciplinary work, featuring groundbreaking research, analysis, and theory, offers new close readings and a model for future scholarship.

One of the most visually striking traditions in cinema, for too long Expressionism has been a neglected critical category of research in film history and aesthetics. The fifteen essays in this anthology remedies this by revisiting key German films like The Cabinet of Dr. Caligari (1921) and Nosferatu (1922), and also provide original critical research into more obscure titles like Nerven (1919) and The Phantom Carriage (1921), films that were produced in the silent and early sound era in countries ranging from France, Sweden and Hungary, to the United States and Mexico. An innovative and wide-ranging collection, Expressionism in Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.

The era of literary modernism coincided with a dramatic expansion of broadcast media throughout Europe, which challenged avant-garde writers with new modes of writing and provided them with a global audience for their work. Historicizing these developments and drawing on new sources for research including the BBC archives and other important collections – Broadcasting in the Modernist Era explores the ways in which canonical writers engaged with the new media of radio and television. Considering the interlinked areas of broadcasting culture and politics in this period, the book engages the radio writing and broadcasts of such writers as Virginia Woolf, W. B. Yeats, Ezra Pound, T. S. Eliot, James Joyce, George Orwell, E. M. Forster, J. B. Priestley, Dorothy L. Sayers, David Jones and Jean-Paul Sartre. With chapters by leading international scholars, the volumes empirical-based approach aims to open up new avenues for understandings of radiogenic writing in the mass-media age.

In-cell television is now a permanent feature of prisons in England and Wales, and a key part of the experience of modern incarceration. This sociological exploration of prisoners' use of television offers an engaging and thought provoking insight into the domestic and everyday lives of people in prison – with television close at hand. Victoria Knight explores how television contributes to imprisonment by normalising the prison cell. In doing so it legitimates this space to hold prisoners for long periods of time, typically without structured activity. As a consequence, television's place in the modern prison has also come to represent an unanticipated resource in the package of care for prisoners. This book uncovers the complex and rich emotive responses to prison life. Dimensions of boredom, anger, frustration, pleasure and happiness appear through the rich narratives of both prisoners and staff, indicating the ways institutions and individuals deal with their emotions. It also offers an insight into the unfolding future of the digital world in prisons and begins to consider how the prisoner can benefit from engagement with digital technologies. It will be of great interest to practitioners and scholars of prisons and penology, as well as those interested in the impact of television on society.