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This volume is the first English-language collection exclusively
dedicated to the study of genre in relation to Spanish cinema.
Providing a variety of critical perspectives, the collection gives
the reader a thorough account of the relationship between Spanish
cinema and genre, drawing on case studies of several of the most
remarkable Spanish films in recent years. The book analyses the
significant changes in the aesthetics, production and reception of
Spanish film from 1990 onwards. It brings together European and
North American scholars to establish a critical dialogue on the
topics under discussion, while providing multiple perspectives on
the concepts of national cinemas and genre theory. In recent years
film scholarship has attempted to negotiate the tension between the
nationally specific and the internationally ubiquitous, discussing
how globalisation has influenced film making and surrounding
cultural practice. These broader social concerns have prompted
scholars to emphasise a redefinition of national cinemas beyond
strict national boundaries and to pay attention to the
transnational character of any national site of film production and
reception. This collection provides a thorough investigation of
contemporary Spanish cinema within a transnational framework, by
positing cinematic genres as the meeting spaces between a variety
of diverse forces that necessarily operate within but also across
territorial spaces. Paying close attention to the specifics of the
Spanish cinematic and social panorama, the essays investigate the
transnational economic, cultural and aesthetic forces at play in
shaping Spanish film genres today. -- .
As the first collection of new work on sound and cinema in over a
decade, Lowering the Boom addresses the expanding field of film
sound theory and its significance in rethinking historical models
of film analysis. The contributors consider the ways in which
musical expression, scoring, voice-over narration, and ambient
noise affect identity formation and subjectivity. Lowering the Boom
also analyzes how shifting modulation of the spoken word in cinema
results in variations in audience interpretation. Introducing new
methods of thinking about the interaction of sound and music in
films, this volume also details avant-garde film sound, which is
characterized by a distinct break from the narratively based sound
practices of mainstream cinema. This interdisciplinary, global
approach to the theory and history of film sound opens the eyes and
ears of film scholars, practitioners, and students to film's true
audio-visual nature.
The late 1960s and 1970s are widely recognized as a golden age for
American film, as directors like Francis Ford Coppola, George
Lucas, and Martin Scorsese expanded the Hollywood model with
aesthetically innovative works. As this groundbreaking new study
reveals, those filmmakers were blessed with more than just
visionary eyes; Designing Sound focuses on how those filmmakers
also had keen ears that enabled them to perceive new possibilities
for cinematic sound design. Offering detailed case studies of key
films and filmmakers, Jay Beck explores how sound design was
central to the era's experimentation with new modes of cinematic
storytelling. He demonstrates how sound was key to many directors'
signature aesthetics, from the overlapping dialogue that
contributes to Robert Altman's naturalism to the wordless
interludes at the heart of Terrence Malick's lyricism. Yet the book
also examines sound design as a collaborative process, one where
certain key directors ceded authority to sound technicians who
offered significant creative input. Designing Sound provides
readers with a fresh take on a much-studied era in American film,
giving a new appreciation of how artistry emerged from a period of
rapid industrial and technological change. Filled with rich
behind-the-scenes details, the book vividly conveys how sound
practices developed by 1970s filmmakers changed the course of
American cinema.
This volume is the first English-language collection exclusively
dedicated to the study of genre in relation to Spanish cinema.
Providing a variety of critical perspectives, the collection gives
the reader a thorough account of the relationship between Spanish
cinema and genre, drawing on case studies of several of the most
remarkable Spanish films in recent years. The book analyses the
significant changes in the aesthetics, production and reception of
Spanish film from 1990 onwards. It brings together European and
North American scholars to establish a critical dialogue on the
topics under discussion, while providing multiple perspectives on
the concepts of national cinemas and genre theory. In recent years
film scholarship has attempted to negotiate the tension between the
nationally specific and the internationally ubiquitous, discussing
how globalisation has influenced film making and surrounding
cultural practice. These broader social concerns have prompted
scholars to emphasise a redefinition of national cinemas beyond
strict national boundaries and to pay attention to the
transnational character of any national site of film production and
reception. This collection provides a thorough investigation of
contemporary Spanish cinema within a transnational framework, by
positing cinematic genres as the meeting spaces between a variety
of diverse forces that necessarily operate within but also across
territorial spaces. Paying close attention to the specifics of the
Spanish cinematic and social panorama, the essays investigate the
transnational economic, cultural and aesthetic forces at play in
shaping Spanish film genres today. -- .
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