Winner of the Southwest Popular and American Culture Association's 2016 Peter C. Rollins Book Award in the category of Film/Television The popular music industry has become completely interlinked with the film industry. The majority of mainstream films come with ready-attached songs that may or may not appear in the film but nevertheless will be used for publicity purposes and appear on a soundtrack album. In many cases, popular music in films has made for some of the most striking moments in films and the most dramatic aesthetic action in cinema, like Ben relaxing in the pool to Simon and Garfunkel's 'The Sound of Silence' in The Graduate (1967), and the potter's wheel sequence with the Righteous Brothers' 'Unchained Melody' in Ghost (1990). Yet, to date, there have only been patchy attempts to deal with popular music's relationship with film. Indeed, it is startling that there is so little written on subject that is so popular as a consumer item and thus has a significant cultural profile. Magical Musical Tour is the first sustained and focused survey to engage the intersection of the two on both an aesthetic and industrial level. The chapters are historically-inspired reviews, discussing many films and musicians, while others will be more concentrated and detailed case studies of single films. Including an accompanying website and a timeline giving a useful snapshot around which readers can orient the book, Kevin Donnelly explores the history of the intimate bond between film and music, from the upheaval that rock'n'roll caused in the mid-1950s to the more technical aspects regarding 'tracking' and 'scoring'.

By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic-to the extent it was considered at all-was widely regarded as a footnote to European film history, with little of enduring value. Since then, interest in East German cinema has exploded, inspiring innumerable festivals, books, and exhibits on the GDR's rich and varied filmic output. In Re-Imagining DEFA, leading international experts take stock of this vibrant landscape and plot an ambitious course for future research, one that considers other cinematic traditions, brings genre and popular works into the fold, and encompasses DEFA's complex post-unification "afterlife."

This work is a behind-the-scenes look at the making and influence of three classic Western movies bound together by the "code of honour" that they explore. "High Noon" (1952, directed by Fred Zinnemann), "Shane" (1953, directed by George Stevens), and "The Searchers" (1956, directed by John Ford), resonate with the rugged simplicity and honesty typifying the genre. The work examines the controversies surrounding the films, the problems experienced in their production, and the drama - or comedy - that occurred among the cast and crew members.

Nearly 200 photos enhance Champlin's readable, fascinating survey of the movies from the Golden Age up through the year 1980. According to Champlin, movies are the art form of our time - perhaps even the art form of this century. With this revised and enlarged edition of his book, one of the most comprehensive and eloquent works on film is available once again.

Cinema-going was the most popular commercial leisure activity in the first half of the twentieth century. UK cinema attendance grew significantly in the Second World War and peaked in 1946 with 1.6 billion recorded admissions. Though `going to the pictures' remained a popular pastime for the remainder of the forties, the transition from war to peacetime altered citizens' leisure habits. During the fifties, a range of factors including increased affluence, the growth of television ownership, population shifts and the diversification of leisure activities led to rapid declines in attendance. By 1965, admissions had plummeted to 327 million and the cinema held a far more marginal existence in the nation's leisure habits. Cinema attendances fell in all regions, but the speed, nature and extent of this decline varied widely across the United Kingdom. By linking broad national developments to detailed case studies of two similarly-sized industrial cities, Belfast and Sheffield, this book adds nuance and detail to our understanding of regional variations in film exhibition, audience habits and cinema-going experiences during a period of profound social and cultural change. The use of a wide range of quantitative and qualitative sources, such as oral testimony, box-office data, newspapers and trade journals, conveys the diverse nature of the cinema industry and the importance of place as a determinant of cinema attendance. Sam Manning is a postdoctoral researcher on the AHRC European Cinema Audiences project. He has recently published articles in Cultural and Social History and Media History.

This book covers significant new ground, examining the impact and imprint of new leading technology on a range of popular expressions. This technology includes the internet, the computer, the cell phone, television, and radio, among others. Some of the specific expressions and phenomena treated include: tourism, big budget films, sports, video games, entertainment culture, religious and gospel culture, mobile culture, popular music, writing and technology, and porn. The work shows acute awareness of the wider global contexts--social, cultural, political, and spiritual--that form the backdrop for Caribbean cultural reconfiguration. Curwen Best argues that Caribbean culture has gone wireless, virtual, and simulated in the age of the machines.

"A timely intervention into debates on the representation of feminist and feminine identities in contemporary visual culture. The essays in this collection interrogate how and why certain formulations of feminism and femininity are currently prevalent in mainstream cinema and television, offering new insights into postfeminist media phenomena"--

This book presents a unique insight into an extraordinary period of European history that had far-reaching significance for British cinema and for the way history itself is represented. The work collected in this volume draws from the best knowledge, enthusiasm and critical insight of leading scholars, archivists and historians specialising in British cinema. The editors are experts in the field of British silent cinema; in particular, its complex relationship to the Great War and its afterimage in popular culture. As the Great War continues to fade from living memory, it is a significant task to look back at how the cinema industry responded to that conflict as it unfolded, and how it shaped the war's memory through the 1910s and 1920s.

The fall of the Soviet Union had the effect of making Russia even more of a riddle to the foreign observer than it had ever been. This book incorporates into an organic whole the realities of film production, the films themselves, and the socio-political-cultural context, weaving these three threads into a narrative discourse. It aims to integrate the films of the 1990s with life, and to provide a global picture of Russia (with Moscow in the foreground) as the big stage on which the drama unfolded. The author discusses some eighty films made between 1990 and 2000. Many reflect the reality of the present day, either in dramatic or grotesque form. Others reassess the past, placing different spins on various epochs and figures according to the director's ideological orientation. Still others offer escapism into imaginary worlds. The films selected may vary in technical quality and depth of thought; they may be mainstream pictures, or art films. But taken together, they provide an eloquent portrait of Russia, entering the new millennium still in search of its true identity.

As the movie and music industries have changed, film scoring has become an overwhelmingly independent process. Film composers have more responsibilities than ever before, and they must fulfill them with smaller budgets and shorter schedules. As a result, composers are increasingly becoming armies of one. In Guerrilla Film Scoring: Practical Advice from Hollywood Composers, Jeremy Borum provides valuable guidance on how to make a good film score both quickly and inexpensively. This handbook encompasses the entire film scoring process including education, preparation, writing and recording a score, editing, mixing and mastering, finding work, career development, and sample contracts. Offering strategic tools and techniques, this insider's guide draws on the expertise from a number of prominent composers in movies, television, and video gaming, including Stewart Copeland, Bruce Broughton, and Jack Wall. A straightforward do-it-yourself manual, this book will help composers at all levels create the best-sounding scores quickly and cost effectively-without jeopardizing their art. With access to rare and extremely useful input from the best in the business, Guerrilla Film Scoring will benefit not only students but also professionals looking to update their game.

How do we define the globalized cinema and media cultures of Bollywood in an age when it has become part of the cultural diplomacy of an emerging superpower? Bollywood and Its Other(s) explores the aesthetic-philosophical questions of the other through, for example, discussions on Indian diaspora's negotiations with national identity.

A socio-cultural analysis of the relationship between modernism and science fiction, from the 1870s to the 1970s, with examples drawn from literature and other media in Britain, Europe and the Americas. The book challenges how high and low culture has been mapped in the twentieth century.

"[Slide's] blockbuster effort fills a gap in this area and is essential for all libraries supporting popular culture or film studies." Library Journal

This collection addresses the significant cultural phenomenon of the 'zombie renaissance' - the growing importance of zombie texts and zombie cultural practices in popular culture. The chapters examine zombie culture across a range of media and practices including films games, music, social media, literature and fandom.

The interactions between popular culture and public policy in general, and foreign policy in particular, have always been an important area of scholarly enquiry and popular interest. However with the end of the bipolar world system and the emergence of a single world superpower in the form of the United States of America, which is waging a War Against Terror, this nexus has become critical. This is especially true because of the almost Manichean tendency of the United States to see other countries in terms of "good" or "evil." Indeed President Bush himself has coined the term "The Axis of Evil" for states, which in a kinder age were simply referred to by his predecessors as being "Rogue States."

This book draws together elements from several academic disciplines - politics, international relations, psychology, film and cultural studies and examines US foreign policy toward the so-called "rogue states" and the products of the Hollywood film industry in relation to these states, which promises to make a significant contribution to our understanding of the 'soft power' that is popular culture.

In the course of the twentieth century glamour was associated primarily with cinema, although the theatre, fashion, high society, popular music, glossy magazines and department stores have all sought to harness its allure. It is usually associated with 'magic' and suggests a capacity to dazzle and seduce. Yet glamour's origins and meanings have never until now been thoroughly examined. For many, it is simply the aura of excitement and mystery that has surrounded the famous and the desirable from time immemorial. By contrast, this innovative book traces the origins of glamour to the nineteenth century and identifies it as a core feature of consumer culture. The authors examine the way that a language of visual seduction has been associated with a variety of social milieux and used to arouse envy and interest, mainly in commercial settings. They also illustrate eight distinct permutations of glamour, each of which has a complex history and is in continual evolution.

This book provides the first comprehensive study of narco cinema, a cross-border exploitation cinema that, for over forty years, has been instrumental in shaping narco-culture in Mexico and the US borderlands. Identifying classics in its mammoth catalogue and analyzing select films at length, Rashotte outlines the genre's history and aesthetic criteria. He approaches its history as an alternative to mainstream representation of the drug war and considers how its vernacular aesthetic speaks to the anxieties and desires of Latina/o audiences by celebrating regional cultures while exploring the dynamics of global transition. Despite recent federal prohibitions, narco cinema endures as a popular folk art because it reflects distinctively the experiences of those uprooted by the forces of globalization and critiques those forces in ways mainstream cinema has failed.

Chronicling Shirley Temple Black's various careers, this work spans the years from her childhood at the studio and at home through her waning success during adolescence, to her diplomatic and political pursuits. An anomaly among child stars, Shirley Temple Black's successful adaptation to life outside the traditional Hollywood social life is explored against the backdrop of the child-star phenomenon in American entertainment. Facts about her childhood, her parental influences, and her political beliefs present Shirley Temple Black as a unique individual rather than as a child star icon. Scholars researching American popular culture will find information on child stars in general through this exploration of Shirley Temple Black's significance within that role. Current attitudes toward racial stereotyping in early films are examined. Research sources for radio broadcasts during the late 1930s and early 1940s are also valuable. The changing American political climate can be viewed through the filter of the economic depression, during which the public embraced Shirley Temple's sense of hope and optimism, and through her, revealed political activism.

Best known for the "dead-ant" theme to the Pink Panther films, Henry Mancini also composed the music to Peter Gunn, Breakfast at Tiffany's, Orson Welles' Touch of Evil, and the Academy Award winning soundtracks to Victor/Victoria and The Days of Wine and Roses. In a career that lasted over thirty years, Mancini amassed twenty Grammy awards and more nominations than any other composer. In his memoir, written with jazz expert Lees, Mancini discusses his close friendships with Blake Edwards, Julie Andrews, and Paul Newman, his professional collaborations with Johnny Mercer, Luciano Pavarotti, and James Galway, and his achievements as a husband, father, and grandfather. A great memoir loaded with equal parts Hollywood glitz and Italian gusto.