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Amanda Howell offers a new perspective on the contemporary pop
score as the means by which masculinities not seen-or heard-before
become a part of post-World War II American cinema. Popular Film
Music and Masculinity in Action addresses itself to an eclectic mix
of film, from Elvis and Travolta star vehicles to
Bruckheimer-produced blockbuster action, including the work of
musically-innovative directors, Melvin Van Peebles, Martin
Scorsese, Gregg Araki, and Quentin Tarantino. Of particular
interest is the way these films and their representations of
masculinity are shaped by generic exchanges among contemporary
music, music cultures, and film, combining American cinema's
long-standing investment in violence-as-spectacle with similarly
body-focused pleasures of contemporary youth music. Drawing on
scholarship of popular music and the pop score as well as feminist
film and media studies, Howell addresses an often neglected area of
gender representation by considering cinematic masculinity as an
audio-visual construction. Through her analyses of music's role in
action and other film genres that share its investment in violence,
she reveals the mechanisms by which the pop score has helped to
reinvent gender-and gendered fictions of male empowerment-in
contemporary screen entertainment.
When writer and director Joss Whedon created the character Buffy
the Vampire Slayer, he could hardly have expected the resulting
academic interest in his work. Yet almost six years after the end
of Buffy on television, Buffy studies and academic work on Whedon's
expanding oeuvre continue to grow. Now with three hugely popular
television shows, Buffy the Vampire Slayer, Angel, and Firefly, and
the film Serenity all available on DVD, scholars are evaluating
countless aspects of the Whedon universe (or "Whedonverse"). Buffy,
Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon
studies the significant role that music plays in these works, from
Buffy the Vampire Slayer to the internet musical Dr. Horrible's
Sing-Along Blog. Kendra Preston Leonard has collected a varying
selection of essays that explore music and sound in Joss Whedon's
works. The essays investigate both diegetic and non-diegetic music,
considering music from various sources, including the shows'
original scores, music performed by the characters themselves, and
music contributed by such artists as Michelle Branch, The Sex
Pistols, and Sarah McLachlan, as well as classical composers like
Camille Saint-Saens and Johannes Brahms. The approaches incorporate
historical and theoretical musicology, feminist and queer
musicology, media studies, cultural history, and interdisciplinary
readings. The book also explores the compositions written by Whedon
himself: the theme music for Firefly, and two fully integrated
musicals, the Buffy episode "Once More, With Feeling" and Dr.
Horrible's Sing-Along Blog. With several musical examples, a table
with a full breakdown of the Danse Macabre scene from the acclaimed
Buffy episode "Hush," and an index, this volume will be fascinating
to students and scholars of science-fiction, television, film, and
popular culture.
Amanda Howell offers a new perspective on the contemporary pop
score as the means by which masculinities not seen-or heard-before
become a part of post-World War II American cinema. Popular Film
Music and Masculinity in Action addresses itself to an eclectic mix
of film, from Elvis and Travolta star vehicles to
Bruckheimer-produced blockbuster action, including the work of
musically-innovative directors, Melvin Van Peebles, Martin
Scorsese, Gregg Araki, and Quentin Tarantino. Of particular
interest is the way these films and their representations of
masculinity are shaped by generic exchanges among contemporary
music, music cultures, and film, combining American cinema's
long-standing investment in violence-as-spectacle with similarly
body-focused pleasures of contemporary youth music. Drawing on
scholarship of popular music and the pop score as well as feminist
film and media studies, Howell addresses an often neglected area of
gender representation by considering cinematic masculinity as an
audio-visual construction. Through her analyses of music's role in
action and other film genres that share its investment in violence,
she reveals the mechanisms by which the pop score has helped to
reinvent gender-and gendered fictions of male empowerment-in
contemporary screen entertainment.
In this heartfelt summer read, perfect for fans of teen romance
books, Mia's drama-filled family beach vacation turns into a chance
at first love when the boy next door comes into the picture... Mia
just wanted a summer away to forget it all. After Mia is
unexpectedly dumped by Jake, a summer having relaxing fun with her
family in the Hamptons sounds like the perfect beach escape. But
her cousin Corinne's new elitist attitude is definitely not what
Mia was expecting, and neither is all the family drama. Mia starts
to feel more like an outsider than ever before. Enter Simon, the
boy staying next door. He's adventurous, quirky, smart, and seems
to want to get to know Mia. And he's definitely not part of
Corinne's "cool" crowd. Simon starts to rub off on Mia, and she
finally begins to open up-including sneaking out, taking late-night
walks on the beach, and maybe even falling in love. The summer
might just turn out better than she had originally planned. But
coming out of her shell could mean losing everything Mia has
gained. The Summer of Skinny Dipping is perfect for those looking
for: Teen realistic fiction books Books for teen girls YA
contemporary novels High school romance books
This book focuses on how the abject spectacle of the 'monstrous
feminine' has been reimagined by recent and contemporary screen
horrors focused on the desires and subjectivities of female
monsters who, as anti-heroic protagonists of revisionist and
reflexive texts, exemplify gendered possibility in altered cultures
of 21st century screen production and reception. As Barbara Creed
notes in a recent interview, the patriarchal stereotype of horror
that she named 'the monstrous-feminine' has, decades later,
'embarked on a life of her own'. Focused on this altered and
renewed form of female monstrosity, this study engages with an
international array of recent and contemporary screen
entertainments, from arthouse and indie horror films by emergent
female auteurs, to the franchised products of multimedia
conglomerates, to 'quality' television horror, to the social
media-based creations of horror fans working as 'pro-sumers'. In
this way, the monograph in its organisation and scope maps the
converged and rapidly changing environment of 21st century screen
cultures in order to situate the monstrous female anti-hero as one
of its distinctive products.
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