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Gorbman, Claudia. "The State of Film Music Criticism." Cinéaste, vol. 21, no. 1/2, 1995, pp. 72-75. JSTOR,
www.jstor.org/stable/41688111. Accessed 26 Aug. 2021.
Miceli, Sergio. "Miceli's Method of Internal, External, and Mediated Levels: Elements for the Definition of a
Film-Musical Dramaturgy." Music and the Moving Image, vol. 4, no. 2, 2011, pp. 1-29. JSTOR,
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Frayling, Christopher. "The Making of Sergio Leone's 'A Fistful of Dollars'." Cinéaste, vol. 25, no. 3, 2000, pp.
14-22. JSTOR, www.jstor.org/stable/41689257. Accessed 26 Aug. 2021.
Mitchell, Tony. "Paolo Conte: Italian 'Arthouse Exotic'." Popular Music, vol. 26, no. 3, 2007, pp. 489-
96. JSTOR, www.jstor.org/stable/4500338. Accessed 26 Aug. 2021.
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Giuliani, Roberto, and Charles Nopar. "SOUND AND AUDIOVISUAL SOURCES AND CONTEMPORARY
HISTORIOGRAPHY." Rivista Italiana Di Musicologia, vol. 35, no. 1/2, 2000, pp. 585-625. JSTOR,
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"Front Matter." Music and the Moving Image, vol. 4, no. 2, 2011, p. i. JSTOR,
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@article{10.2307/44515147,
ISSN = {03927636, 2240967X},
URL = {http://www.jstor.org/stable/44515147},
author = {Carla Amici and Flora Ammannato and Maddalena Andreussi and Margherita Cancellieri and
Ferdinando Castagnoli and Anna Laura Cesarano and Bice Colarossi and Lanfranco Cordischi and Lucos
Cozza and Romana de Angelis Bertolotti and Maria Fenelli and Giovanna Maria Forni and Francesca
Gerardi and Piero Alfredo Gianfrotta and Marcello Guaitoli and Claudia Lega and Paolo Liverani and
Zaccaria Mari and Maria Luisa Morricone and Chiara Morselli and Maria Pia Muzzioli and Michela Sediari
and Edoardo Tortorici and Rita Turchetti and Patrizia Verduchi},
journal = {Bullettino della Commissione Archeologica Comunale di Roma},
number = {1},
pages = {141--232},
publisher = {L’Erma di Bretschneider},
title = {Notiziario bibliografico di Roma e Suburbio, 1981-1984},
volume = {91},
year = {1986}
@article{10.5406/musimoviimag.9.1.0059,
ISSN = {21678464, 19407610},
URL = {https://www.jstor.org/stable/10.5406/musimoviimag.9.1.0059},
abstract = {Film Music Bibliography 2013 and 2014.},
author = {Robert Kosovsky and Danijela Kulezic-Wilson and Warrren M. Sherk},
journal = {Music and the Moving Image},
number = {1},
pages = {59--61},
publisher = {University of Illinois Press},
title = {Film Music Bibliography 2013/2014},
volume = {9},
year = {2016}
ISSN = {21678464, 19407610},
abstract = {gillian anderson (http://www.gilliananderson.it) is a conductor and musicologist. She has

participated in the restoration and reconstruction of the original orchestral scores written to accompany over
forty of the great “mute” films and has conducted them in synchronization with their projection at many
important film festivals, universities, and performing arts centers with many symphony orchestras, most
recently Modern Times (Chaplin) with the FVG Orchestra in Udine, Nosferatu with the Vancouver Symphony,
Stark Love (Brown, 1928) with Cinemusica Viva NYU at MoMA, and The Birth of a Nation with the Opera
Orchestra of the Teatro Sao Carlos in Lisbon. Her releases include Nosferatu (Murnau, 1921) BMG Classics,
Carmen (DeMille, 1915) Video Artists International, Haexan (Christiansen, 1922), Pandora’s Box (Pabst,
1928), and Master of the House (Dreyer, 1925) Criterion Films. Her books include Music for Silent Films
1894–1929: A Guide (Washington, DC, Library of Congress, 1988), which is available online from the Haithi
Trust; and the translation of Ennio Morricone and Sergio Miceli’s Composing for the Cinema (Scarecrow
Press, 2013). Her article “D. W. Griffith’s Intolerance: Revisiting a Reconstructed Text,” has appeared in Film
History, 25, 3. matthew mcdonald ([email protected]) is an associate professor of music at Northeastern
University, where he directs the music theory program and teaches courses in music theory, music history,
and film music. He holds a PhD in music theory from Yale University and is the author of numerous articles
and essays on early modernist music and music in film, including contributions to Routledge’s Music in the
Western and Music, Sound, and Filmmakers. His book, Breaking Time’s Arrow: Experiment and Expression
in the Music of Charles Ives, was published by Indiana University Press (2014). Currently, he is working on a
new book project on music and sound in the films of the Coen brothers. reba wissner
([email protected]) is an adjunct professor at the John J. Cali School of Music at Montclair State
University, adjunct assistant professor of music history at Westminster Choir College of Rider University, and
an adjunct professor at Berkeley College. She received her MFA and PhD in musicology from Brandeis
University and her BA in music and Italian from Hunter College. Her first book, A Dimension of Sound: Music
in The Twilight Zone,was published by Pendragon Press, and she also serves as the series editor for their
Music and Media series. Currently, she is working on her second book, titled, We Will Control All That You
Hear: The Outer Limits and the Aural Imagination.},
number = {3},
pages = {71--72},
title = {About the Authors},
volume = {8},
year = {2015}
ISSN = {21678464, 19407610},
URL = {http://www.jstor.org/stable/10.5406/musimoviimag.4.2.0040},
number = {2},
pages = {40--40},
volume = {4},
year = {2011}
@article{10.2307/43456313,
ISSN = {0015119X},
author = {Chris Chang},
journal = {Film Comment},

number = {6},
pages = {16--16},
publisher = {Film Society of Lincoln Center},
title = {Dark Passages},
volume = {41},
year = {2005}
@article{10.2307/20795311,
ISSN = {02101459},
author = {Ana Ma. Vega Toscano},
journal = {Revista de Musicología},
number = {1},
pages = {357--358},
publisher = {Sociedad Española de Musicología (SEDEM)},
title = {II ENCUENTRO INTERNACIONAL DE MÚSICA DE CINE (Sevilla, 23 al 28 de mayo de 1988)},
volume = {12},
year = {1989}
@article{10.2307/43932589,
ISSN = {00402982, 14782286},
author = {Newton Armstrong},
journal = {Tempo},
number = {267},
pages = {63--65},
publisher = {Cambridge University Press},
title = {'Bold Tendencies': London Contemporary Music Festival, Peckham multi-storey car park, London, 25-
28 July, 1-4 August 2013},
volume = {68},
year = {2014}
ISSN = {21678464, 19407610},
author = {Ron Sadoff and Suzana Peric},
number = {2},
pages = {31--50},
title = {Film Music Editing and Creating a Narrative World: A Conversation
with Suzana Peric},
volume = {14},
year = {2021}
ISSN = {21678464, 19407610},
author = {Felicity Wilcox},
number = {1},
pages = {46--57},
title = {“The Passion That We Don't Understand”: An Interview with Lisa Gerrard},
volume = {14},
year = {2021}
@article{10.2307/24321522,
ISSN = {00356867, 20365586},
author = {Francesco Leprino},
journal = {Rivista Italiana di Musicologia},
number = {1},
pages = {197--201},
publisher = {[Libreria Musicale Italiana (LIM) Editrice, Società Italiana di Musicologia]},
reviewed-author = {Sergio Miceli},
volume = {31},
year = {1996}
@article{10.2307/41126815,
ISSN = {00274801},
author = {Stefan Drees},
journal = {Die Musikforschung},
number = {3},
pages = {319--320},
publisher = {[Gesellschaft für Musikforschung e.V., Bärenreiter]},
reviewed-author = {CHRISTIANE HAUSMANN},
volume = {63},
year = {2010}
@article{10.2307/1003138,
ISSN = {00274666},
author = {David Wright},
journal = {The Musical Times},
number = {1820},
pages = {646--646},
publisher = {Musical Times Publications Ltd.},
reviewed-author = {Roger Heaton and Simon Limbrick and Dave Smith and The Mühlfeld Trio},
volume = {135},
year = {1994}
@inbook{10.3366/j.ctt1bh2jxv.17,
ISBN = {9780748693528},
URL = {http://www.jstor.org/stable/10.3366/j.ctt1bh2jxv.17},
abstract = {Audio is perhaps the most vital component in the construction of horror films; from the child’s
lullaby in Profondo rosso/Deep Red (Dario Argento, 1975), Bernard Herrmann’s use of stingers in Psycho
(Alfred Hitchcock, 1960), to the musique concrète of The Texas Chainsaw Massacre (Tobe Hooper, 1974),
the canon of great horror films are inextricably tied and indebted to their soundtracks. And yet despite the
importance of this audio-visual synchronicity, Italian horror soundtracks in particular have endured not only
as part of the films they were made to complement, but also independently of them. With Goblin embarking
on their first US},
author = {Craig Hatch},

booktitle = {Italian Horror Cinema},
pages = {175--190},
publisher = {Edinburgh University Press},
title = {THE HORROR OF PROGRESSIVE ROCK: GOBLIN AND HORROR SOUNDTRACKS},
year = {2016}
@inbook{10.2307/j.ctv5jxp81.10,
URL = {http://www.jstor.org/stable/j.ctv5jxp81.10},
abstract = {The music featured in Tarantino’s films has, no doubt, contributed to their success. The
soundtracks ofPulp Fiction, Kill Bill Vol. 1, andDjango Unchainedreached no. 20, no. 45, and no. 53 on the
Billboard 200 album chart. Viewers have come to associate songs like “Little Green Bag” (George Baker,
1970), “Misirlou” (Dick Dale and the Del Tones, 1963), “Bang Bang” (Nancy Sinatra, 1966) withReservoir
Dogs, Pulp Fiction, andKill Bill Vol. 1. The soundtracks further encourage this association by including lines
Tarantino and the producers have selected to become “cult,” including Tarantino’s “Madonna Speech” (Track
8 on},
author = {David Roche},
booktitle = {Quentin Tarantino: Poetics and Politics of Cinematic Metafiction},
pages = {224--243},
publisher = {University Press of Mississippi},
title = {“LOOKIN’ BACK ON THE TRACK, GONNA DO IT MY WAY”: The Use of Preexisting Music},
year = {2018}
@inbook{10.2307/j.ctt24hx9s.25,
ISBN = {9781617036637},
URL = {http://www.jstor.org/stable/j.ctt24hx9s.25},
abstract = {This isFresh Air. I’m Terry Gross.My guest Clint Eastwood has directed two films about one of the
bloodiest battles of World War II, the battle of Iwo Jima. The first film,Flags of Our Fathers, showed the battle
from the American point of view and told the story behind the famous Pulitzer Prize–winning photo of five
Marines planting the flag there. Eastwood’s new film,Letters from Iwo Jima, describes the battle from the
perspective of Japanese soldiers. The Japanese soldiers on Iwo Jima were told to expect to die there, and
most of them did. About twenty},
author = {Terry Gross},
booktitle = {Clint Eastwood: Interviews, Revised and Updated},
pages = {206--218},
title = {Eastwood’s Letters from Iwo Jima},
year = {2013}
@inbook{10.2307/j.ctt9qcxw6.11,
ISBN = {9780857454430},
URL = {http://www.jstor.org/stable/j.ctt9qcxw6.11},
abstract = {The first sight we have of Humbert Humbert inLolitais of a blood-stained, spent murderer, still
grasping a hairpin as he drives away from the scene of the crime. If you had never read Nabokov’s novel,
nor seen Kubrick’s 1962 film or Edward Albee’s stage play, you might think that Humbert has just killed Lolita
herself. Such a misconception could well be fostered by Ennio Morricone’s mournful cue and especially by
the first words we hear Irons utter:She was Lo, plain Lo, in the morning, standing four feet ten in one sock.
She was Lola in slacks. She},
author = {Mark Nicholls},
booktitle = {Lost Objects of Desire: The Performances of Jeremy Irons},
edition = {1},
pages = {158--192},
publisher = {Berghahn Books},
title = {Lolita: The Two Basic Laws of Totemism},
year = {2012}
@inbook{10.5406/j.ctt3fh4n2.10,
ISBN = {9780252037092},
URL = {http://www.jstor.org/stable/10.5406/j.ctt3fh4n2.10},
author = {L. Andrew Cooper},
booktitle = {Dario Argento},
pages = {155--172},
title = {Filmography: Feature Films and Television Directed by Dario Argento},
year = {2012}
@inbook{10.2307/j.ctvjz81jv.8,
ISBN = {9789587461893},
URL = {http://www.jstor.org/stable/j.ctvjz81jv.8},
abstract = {Las consideraciones finales sobre este compendio incluyen cuatro ideas esenciales. La primera
se relaciona con el tema filme-crónica que favorece a GGM y que es donde se siente mejor. Sin lugar a
duda, cuando sus temas para el cine provienen de la vida real, se evidencia el neorrealismo, y ello implica la
crónica por definición y conforme a los criterios del movimiento cinematográfico italiano. Además, el
tratamiento es más directo y poco elíptico, donde a cada personaje, con motivación y profundidad propia,
apela —de pronto— a diálogos expresivos sin giros dramáticos.Segunda —y sin divagaciones—, la escritura
cinematográfica, tanto},
author = {GONZALO RESTREPO SÁNCHEZ},
booktitle = {Gabriel García Márquez y el cine ¿Una buena amistad?},

edition = {1},
pages = {159--166},
publisher = {Editorial Unimagdalena},
title = {Conclusiones},
year = {2019}
@inbook{10.2307/j.ctt14jxr1n.5,
ISBN = {9786074624700},
URL = {http://www.jstor.org/stable/j.ctt14jxr1n.5},
abstract = {Nuestra generación, es decir, la de los italianos que ahora tienen más de 50 años, ha crecido
con losspaghetti western,y en la revolución de 1968, y como muchos héroes de aquellas películas, ha
desarrollado una conciencia política caracterizada por el marxismo, el tercermundismo y la lucha contra el
capitalismo, pero igualmente impregnada por lanouvelle vague,elcine novobrasileño, el amor por el cine
norteamericano clásico, de John Ford a Robert Aldrich, y también por Roberto Rossellini y pier paolo
pasolini. de cierto modo, para muchos de nosotros la época de esos movimientos políticos y culturales fue},
author = {MARCO GIUSTI},
booktitle = {La revolución mexicana en el cine: Un acercamiento a partir de la mirada ítaloeuropea},
pages = {29--36},
publisher = {Colegio de Mexico},
title = {“E ADESSO, IO?”},
year = {2013}
@inbook{10.7312/hunt18281.6,
URL = {http://www.jstor.org/stable/10.7312/hunt18281.6},
abstract = {According to Bava expert Tim Lucas,Diabolikwent from being seen as ‘quaintly campy in the
1970s’ to ‘interesting’ in the 1980s, and then fashionable in the 1990s (2007: 754). He attributes this
rediscovery to ‘new trends in lounge music, style and fashion’ (ibid.), an idea supported by the title of a short
piece on the film by Roman Coppola, ‘Lounge Cinema’ (2007). Certainly, the nineties and early noughties
consolidated the cult reputation of the film, even if, as we have seen, it had its critical admirers from early on.
Paramount had evidently taken some persuading to release the film},
author = {Leon Hunt},
booktitle = {Danger: Diabolik},
pages = {37--55},
publisher = {Columbia University Press},
title = {‘UH-OH – IT’S GETTING GROOVY!’: THE CULT AFTERLIFE OF DANGER: DIABOLIK},
year = {2018}
@inbook{10.2307/j.ctv111jhp4.45,
ISBN = {9781478000112},
URL = {http://www.jstor.org/stable/j.ctv111jhp4.45},
abstract = {Quiet as it’s kept, the early ’70s were not the dark ages of rock’n’roll. They were its economic
heyday. Pop music is too big to shrivel up artistically overnight, and with the record business booming more
confidently than it ever would again, the magic of venture capital was juicing durable artists of enormous
potential and profitability. Think Joni Mitchell, Randy Newman, Bonnie Raitt, John Prine, Linda Ronstadt, all
creating music of substance as they embarked on long career paths about whose quiddities we are free to
quibble, and all flowering between 1970 and 1975, before punk and disco rendered them},
author = {ROBERT CHRISTGAU},
booktitle = {Book Reports: A Music Critic on His First Love, Which Was Reading},
pages = {194--199},
publisher = {Duke University Press},
title = {The Cynic and the Bloke: Rod Stewart’s Rod: The Autobiography and Donald Fagen’s Eminent
Hipsters},
year = {2019}
@inbook{10.2307/j.ctv12102sm.19,
ISBN = {9780822361893},
URL = {http://www.jstor.org/stable/j.ctv12102sm.19},
abstract = {In the Grammy-nominated 64-page booklet that housed L.A. noizepop-punkgaze-and-multimedia
duo No Age’s first-full-album-conceived-as-such Nouns in 2008, pages 12 and 13 were devoted to
somebody’s cassette collection: plenty of metal (Sepultura, Metallica, Iron Maiden, Obituary); rap (Public
Enemy, OutKast, Roots, Kool Moe Dee); punk (Dead Kennedys, Black Flag, Subhumans, Germs); alt and
indie of sundry other stripes (Fugazi, Ned’s Atomic Dustbin, Shudder to Think, several by Public Image Ltd.);
a bit of jazz (Miles, Mingus); plus Spank Rock, 2 Live Jews, The Moishe Dysher Chanuka Party, Howard the
Duck soundtrack, etc. Conspicuously absent, given the legacy of subsuming pretty mopey melodies},
author = {Chuck Eddy},
booktitle = {Terminated for Reasons of Taste: Other Ways to Hear Essential and Inessential Music},
pages = {67--70},
title = {Urinals → No Age},
year = {2016}
@article{10.2307/24615734,
ISSN = {00274666, 23975318},
number = {1924},

title = {Front Matter},
volume = {154},
year = {2013}
@article{10.2307/23992937,
ISSN = {09456945, 21995958},
journal = {Neue Zeitschrift für Musik (1991-)},
number = {3},
publisher = {Schott Music GmbH & Co. KG},
title = {Back Matter},
volume = {171},
year = {2010}
@article{10.2307/26849152,
ISSN = {00097004, 26419238},
URL = {https://www.jstor.org/stable/26849152},
author = {Cynthia Rowell},
journal = {Cinéaste},
number = {1},
pages = {41--41},
publisher = {Cineaste Publishers, Inc.},
title = {INDEX TO CINEASTE, VOL. XLIV},
volume = {45},
year = {2019}
@article{10.2979/transition.112.1,
ISSN = {00411191, 15278042},
URL = {http://www.jstor.org/stable/10.2979/transition.112.1},
abstract = {Pop aesthetics and fantasy frame Django's violent, lawless world. Transition Editor and cultural
critic, Glenda Carpio, examines what it means to make light of the most pernicious period in American
history.},
author = {Glenda R. Carpio},
journal = {Transition},
number = {112},
pages = {1--12},
publisher = {[Indiana University Press, Hutchins Center for African and African American Research at
Harvard University]},
title = {“I Like the Way You Die, Boy”},
year = {2013}
@article{10.2979/blackcamera.7.2.79,
ISSN = {15363155, 19474237},
URL = {http://www.jstor.org/stable/10.2979/blackcamera.7.2.79},
abstract = {Abstract This essay argues that Quentin Tarantino's use of African American cultural history as a
cinematic tool is similar in exploitation to the actions of his own slave-owning villain Calvin Candie in Django
Unchained. Through the close examination of two key scenes, it will be shown that Tarantino's stylistic use of
slavery and African American characters is deeply problematic in its white savior arrogance to revise black
cultural history through the cultural production of a film. Tarantino's postmodern pastiche exploits signify ers
from many areas of popular culture for entertainment, but it is his use of slavery, hip-hop, and
representations of black masculinity as tools for audience manipulation that are particularly troubling.
Tarantino's cultural appropriation is an inherently derogatory creative choice that warrants examination by
film scholars.},
author = {Andrew Harrington},
journal = {Black Camera},
number = {2},
pages = {79--87},
publisher = {Indiana University Press},
title = {Is Quentin Tarantino Calvin Candie?: The Essence of Exploitation in Django Unchained},
volume = {7},
year = {2016}
ISSN = {21678464, 19407610},
abstract = {Film-music combinations that have been labeled as inappropriate, misfitting, or incongruent are
often also described as unexpected audiovisual pairings. Various strands of academic research observe a
prevalence of such constructions in contemporary multimedia, which arguably implies that such pairings are
less surprising or unexpected than they once might have been. This article identifies three types of
audiovisual incongruence from recent multimedia, and discusses these in relation to psychological theories
of expectation and ideas from semiotics, which facilitate consideration of any potential disjunction between
authorial intent and perceiver reception of a work.},
author = {David Ireland},
number = {3},
pages = {21--35},

title = {Great Expectations? The Changing Role of Audiovisual Incongruence in Contemporary Multimedia},
volume = {10},
year = {2017}
ISSN = {21678464, 19407610},
abstract = {Through his prolific writings, including Focus On Godard; Film Musings: A Selected Anthology
from Fanfare Magazine; the seminal Overtones and Undertones: Reading Film Music; and his forty-eight
year career teaching at The City University of New York, Royal S. Brown has had a formative influence on
modern film music scholarship. In an interview with Ron Sadoff, Brown reveals critical tenets of his
pedagogy: his background, philosophy, influences, and salient points that undergird his approach to
analyses and the teaching of film music.},
author = {Ronald H. Sadoff},
number = {2},
pages = {54--69},
title = {An Interview with Royal S. Brown on Film Music Pedagogy with Course Syllabus},
volume = {5},
year = {2012}
@article{10.2307/41689227,
ISSN = {00097004},
author = {Edward Said and Gillo Pontecorvo},
number = {2},
pages = {24--25},
publisher = {Cineaste Publishers, Inc},
title = {The Dictatorship of Truth: An Interview with Gillo Pontecorvo},
volume = {25},
year = {2000}
@article{10.5325/jasiapacipopcult.4.1.0078,
ISSN = {23807679, 23807687},
URL = {https://www.jstor.org/stable/10.5325/jasiapacipopcult.4.1.0078},
abstract = {Hitchcock famously defined “pure cinema” as montage: “to me, pure film, pure cinema, is pieces
of film assembled.” It’s a simple, workable definition of one aspect of film form that had long fascinated
filmmakers and theorists. This article attempts to analyze the foundation of Hitchcockian montage as a
process of the fragmentation of the organic whole of visual, aural, and narrative form. I begin with Hitchcock,
and then consider the materialization of a Hitchcockian montage schema in the work of Dario Argento and
Brian De Palma, two filmmakers who proudly declare an aesthetic and philosophical debt to Hitchcock’s
cinema. In their explicit imitation of the Hitchcockian schema, I trace the cinema of the giallo and De Palma
as a further abstraction of the part from the whole, but in this imitative, reflexive, aesthetic gesture, the bond
between part and whole is increasingly tenuous, synthetic, and irrational.},
author = {Bruce Isaacs},
journal = {Journal of Asia-Pacific Pop Culture},
number = {1},
pages = {78--99},
publisher = {Penn State University Press},
title = {The Part Is Greater Than the Whole: Montage as Fragment in Hitchcock, Argento, and De Palma},
volume = {4},
year = {2019}
@article{10.2307/26532842,
ISSN = {00097004, 26419238},
author = {Darragh O'Donoghue},
number = {4},
pages = {15--21},
title = {Laughter in the Dark: The Black Comedy of Lina Wertmüller},
volume = {43},
year = {2018}
@article{10.2307/43459111,
ISSN = {0015119X},
author = {GEOFFREY O'BRIEN},
number = {1},
pages = {30--33},
publisher = {Temporary Publisher},
title = {HEART OF DIXIE},
volume = {49},
year = {2013}
ISSN = {21678464, 19407610},
number = {1},
pages = {66--67},
volume = {11},
year = {2018}
@article{10.2979/globalsouth.14.1.08,
ISSN = {19328648, 19328656},
URL = {https://www.jstor.org/stable/10.2979/globalsouth.14.1.08},
abstract = {This illuminating and dynamic conversation with former Canadian Poet Laureate, George Elliott
Clarke, reorients national perceptions of blues music and its influence on literature. Clarke's encyclopedic
knowledge of history, literature, and music paired with his nearly uncontainable joie de vivre takes over the
page as he presents the bluesy tensions that come with being Africadian (African-Acadian-Canadian) in an
increasingly global world. Clarke shows how the blues have given him access to an idiom that can represent
his community in black Nova Scotia and represent the hallmarks of black experience in the New World, both
oppressive and joyous. While Clarke recognizes that blues music is an African American creation, he also
asserts that the blues is a global phenomenon that can be found in numerous forms of vernacular
expression. Clarke is equal parts informative and provocative as he navigates Ferguson's questions ranging
from blues music's influence to the pressures of identity on an Africadian writer of blues literature. This
interview is for fans of blues music and literature, scholars of the Global South, and anyone interested in
learning more about an important Canadian writer whose career has shaped black Canadian literature.},
author = {Josh-Wade Ferguson},

journal = {The Global South},
number = {1},
pages = {172--190},
title = {The Africadian Blues: A Conversation with George Elliott Clarke},
volume = {14},
year = {2020}
@article{10.2979/globalsouth.14.1.01,
ISSN = {19328648, 19328656},
URL = {https://www.jstor.org/stable/10.2979/globalsouth.14.1.01},
abstract = {The history of blues music includes, or should include, an account of the way in which this
substantially African American creation, a product of the US South and the Great Migration, has been
transformed over the past century into a global phenomenon, one performed by local musicians and
embraced by audiences in virtually every corner of the world. Since that comprehensive account of the
blues's globalization has yet to be written, this introductory essay offers a provisional outline based on what
is currently known—a knowledge base notably augmented by the seven essays addressing this issue's
theme, “blues music in transnational context.” The globalization process takes place in six roughly sequential
stages, I argue, beginning with the music's transatlantic migration from the US to the UK and Europe in the
1950s and early 1960s, an early diffusion framed by British and continental blues scholarship. The UK blues
scene isn't just the first non-US scene to achieve critical mass, but the male blues-rock artists it promotes,
especially the Rolling Stones and Cream, end up critically inflecting the aesthetics of emergent scenes in
Europe and beyond. B. B. King, touring widely and frequently outside the US, is a key agent of blues's global
spread; the International Blues Challenge in Memphis stages an annual rite of return for the widespread
cohort of blues musicians produced by globalization, even as digital technologies radically democratize the
performative playing field, enabling musicians such as Luna Lee, a young South Korean YouTuber, to seek
and consolidate global audiences.},
author = {Adam Gussow},
journal = {The Global South},
number = {1},
pages = {1--22},
title = {Bien al Sur: Notes Toward a Genealogy of Blues Music's Global
Spread},
volume = {14},
year = {2020}
@inbook{10.5749/j.ctvfjczpj.8,
ISBN = {9781517905422},
URL = {http://www.jstor.org/stable/10.5749/j.ctvfjczpj.8},
abstract = {Very little is more important to me about Star Wars than its music. Its melodies defined my
affection for the series and turned me on to the greater history of orchestral music of all kinds—film music,
yes, but also symphonies, ballets, and opera. As a nostalgic franchise, John Williams’s music has come to
serve as a kind of transmedial brand, with video games, animated series, and radio plays not quite being
officially Star Wars until sufficient reference to the musical sounds of the series has been paid. I’m not alone
in my love of the music: the American Film},
author = {Dan Golding},
booktitle = {Star Wars after Lucas: A Critical Guide to the Future of the Galaxy},
pages = {113--132},
publisher = {University of Minnesota Press},
title = {JUST LIKE OLD TIMES?: Music, Seriality, and the Fugue of The Force Awakens},
year = {2019}
@inbook{10.2307/j.ctv8bt17j.9,
ISBN = {9780823279388},
URL = {http://www.jstor.org/stable/j.ctv8bt17j.9},
abstract = {World War II was a watershed moment for the American and Italian cinemas: like the parting of
the Red Sea, it opened up different roles in politics as well as in film for the Italian film industry and for Italian
immigrants. Italy and Italian Americans reconnected as international politics assigned the country a central
position in Cold War strategies.² And—not so indirectly—this new international balance corroborated the
“whitening” process of Italians in the United States induced by the “structural mobility” that favored a less
controversial ethnic placement.³In 1945, the cinema was mobilized on all fronts: Americans introduced},
author = {Giuliana Muscio},
booktitle = {Napoli/New York/Hollywood: Film between Italy and the United States},
edition = {1},
pages = {253--296},
publisher = {Fordham University Press},
title = {Transnational Neorealism: Toward an Italian American Film Hegemony},
year = {2019}
@inbook{10.2307/j.ctv9hvrjz.14,
URL = {http://www.jstor.org/stable/j.ctv9hvrjz.14},
abstract = {As part of their foreign affairs series Under the Sun , British public broadcaster BBC2 screened
the filmSchoolgirl Killeron terrestrial television in June 1999, directed by documentarist, journalist, and author
Charlotte Metcalf. The fifty-minute film depicts the true story of Aberash Bekele, a sixteen-year-old schoolgirl
from the Ethiopian countryside on trial for murdering a man who had forcibly abducted and raped her (aged
fourteen at the time). In an extraordinary turn of events, Bekele was acquitted by the court, an outcome that
signaled a profound challenge to traditional values and gender relations in Ethiopia. Sixteen years later, the},
author = {Tim Bergfelder},
booktitle = {African Cinema and Human Rights},
pages = {183--200},
title = {Abducted Twice?: Difret (2015) and Schoolgirl Killer (1999)},
year = {2019}
@inbook{10.7312/kann18121.8,
URL = {http://www.jstor.org/stable/10.7312/kann18121.8},
abstract = {In Jason Reitman’s filmJuno(2007), the title character sits drinking root beer floats with the
proposed adoptive father of her soon-to-be-born child, while watching Herschell Gordon Lewis’sThe Wizard
of Gore(1970). After a brief shot of the television screen, Juno says, ‘This is even better thanSuspiria.You’ve
got decent taste in slasher movies, Mark.’ Her seal of approval resolves their earlier disagreement over
which director holds the ‘master of horror’ title: Lewis wins, because he ‘out-grosses’ Argento. Mark
concedes that ‘Argento’s good, but Lewis is completely demented. We’re talking buckets of goo. Red corn
syrup everywhere. And},
author = {Alexia Kannas},
booktitle = {Deep Red},
pages = {91--104},
title = {INTERMITTENT TRANSCENDENCE: THE PLACE OF DEEP RED},
year = {2017}
@inbook{10.5406/j.ctt1xchmg.22,
ISBN = {9780252036736},
URL = {http://www.jstor.org/stable/10.5406/j.ctt1xchmg.22},
abstract = {In the end, Henry Mancini should be remembered for three contributions to popular culture: first
the reinventing, the freshening of film scoring in the 1960s. Before that a formal European symphonic style of
music had served generations of movie soundtracks in the 1930s and 1940s until composers like Alex North
and Elmer Bernstein brought city jazz and Leonard Rosenman and David Raksin brought atonal and
chromatic styles to Hollywood in the 1950s. None of that music seemed quite right for the free-spirited,
forwardlooking, optimistic baby boomer stories and movie stars that followed. For that young Kennedy-era
generation, Mancini offered his},
author = {John Caps},
booktitle = {Henry Mancini: Reinventing Film Music},
pages = {240--244},
title = {Looking Back, Looking On},
year = {2012}
@inbook{10.2307/j.ctv102bmjv.15,
ISBN = {9788413245232},
URL = {http://www.jstor.org/stable/j.ctv102bmjv.15},
author = {Enrique SAN MIGUEL PÉREZ},
booktitle = {Sueños en movimiento. Derecho, historia y estado en la literatura y el cine (1945-1969)},
pages = {133--204},
publisher = {Dykinson, S.L.},
title = {52 PELÍCULAS CON FRANÇOIS TRUFFAUT},
year = {2019}
@inbook{10.7312/hunt18281.5,
abstract = {On 4 May 1965, an article in the Rome newspaperIl giornale d’Italiaannounced that ‘Il momento
dei fumetti’ (the moment of comics) had arrived (Patrizio 1965: 9). The arrival of a newfilone(a cycle or trend)
was discerned in the announcement of three productions – the producer Tonino Cervi was preparingDiabolik,
while Dino De Laurentiis and Ducio Tessari respectively were set to makeBarbarellaandMandrake the
Magician. Tessari’sMandrakewould never come to fruition, and De Laurentiis would later attempt
(unsuccessfully) to lure Federico Fellini to Hollywood to film it. The other two projects would be made},
pages = {13--36},
title = {FROM FUMETTO NERO TO ‘WILD AND KOOKY CAPE-OPERA’: PRODUCTION, PROMOTION,
INITIAL RECEPTION},
year = {2018}
@inbook{10.2307/j.ctv1131bwx.5,
ISBN = {9781478005179},
URL = {http://www.jstor.org/stable/j.ctv1131bwx.5},
abstract = {This is not a great moment for U.S. radio. Streamlined and corporatized since the 1996
Telecommunications Act, radio stations have been displaced by new listening technologies like MP3s and
streaming systems like Spotify.¹ Black-oriented stations, which since the mid-1970s have been driven more
by “preprogrammed formats” than by DJs, are rendered invisible by Billboard metrics that consistently show
white artists topping the R&B;/Hip-Hop chart.² And on the am side of the dial, National Public Radio canceled
its one program aimed at African American listeners, Tell Me More, in spring of 2014.It was therefore
especially curious that, between 2012 and},
author = {Emily J. Lordi},
booktitle = {Are You Entertained?: Black Popular Culture in the Twenty-First Century},
pages = {44--57},
title = {BLACK RADIO: ROBERT GLASPER, ESPERANZA SPALDING, AND JANELLE MONÁE},
year = {2020}
@inbook{10.2307/j.ctv1kgd65p.9,
ISBN = {9781526149916},
URL = {http://www.jstor.org/stable/j.ctv1kgd65p.9},
abstract = {In the opening scene of the first episode of British TV series Black Earth Rising,¹ the Prosecutor
of the International Criminal Court has just finished giving a conference and accepts a few questions from the
audience. A black young adult asks her, rather daringly:Jay: What motivates you to vomit up all this
neocolonialist bullshit?Moderator: You don’t have to answer this question …Prosecutor Ashby: I am
motivated to see justice done, wherever the crime took place.Jay: Oh … it just so happens, all these crimes,
they take place in Africa?Prosecutor Ashby: We only prosecute those cases},
author = {Anne Lagerwall},
booktitle = {Cinematic perspectives on international law},
pages = {104--127},
publisher = {Manchester University Press},
title = {Is cinema the handmaid of international criminal justice?},
year = {2021}
@inbook{10.2307/j.ctv18b5fq4.13,
ISBN = {9781526139528},
URL = {http://www.jstor.org/stable/j.ctv18b5fq4.13},
abstract = {Released in 1958 and 1960 respectively, Vertigo and Psycho are arguably the most famous
works in the Hitchcockian oeuvre, celebrated and analysed by generations of scholars. In approaching these
two canonical works, therefore, I am deeply mindful of the immense body of literature they have inspired. In
terms of sound and music, the films represent the real high point of the Hitchcock-Herrmann collaboration,
with both scores, though wildly different aesthetically, featuring some of the most famous pieces in the
history of film music. In this chapter, I will examine two key sequences from Vertigo and Psycho - two early
scenes},
author = {Pasquale Iannone},
booktitle = {Partners in suspense: Critical essays on Bernard Herrmann and Alfred Hitchcock},
pages = {89--99},
title = {On the road with Hitchcock and Herrmann: sound, music and the car journey in Vertigo (1958) and
Psycho (1960)},
year = {2017}
@inbook{10.2307/j.ctv16kkzj9.11,
ISBN = {9781781888759},
URL = {http://www.jstor.org/stable/j.ctv16kkzj9.11},
abstract = {The American West constitutes a privileged terrain of cultural encounter between Italy and the
United States of America. In the aftermath of the Second World War, the Old West or Far West becomes a
recurring theme in Italian society, through cultural import as well as through a plethora of Italian reinventions.
In a way, imported Western movies from Hollywood, such as High Noon (Mezzogiorno di fuoco, 1952),
starring Gary Cooper, The Alamo (La battaglia di Alamo, 1960), directed by and starring John Wayne, or The
Man who shot Liberty Valance (L’uomo che uccise Liberty Valance, 1962), directed by John Ford,},
author = {Luca Cottini},
booktitle = {Italy and the USA: Cultural Change Through Language and Narrative},
edition = {NED - New edition},
pages = {89--102},
publisher = {Modern Humanities Research Association},
title = {Buffalo Bill and the Italian Myth of the American West},
volume = {44},
year = {2019}
@article{10.2307/44734904,
ISSN = {00274380, 1534150X},
author = {James Procell and Matt Ertz},
journal = {Notes},
number = {2},
pages = {323--331},
publisher = {Music Library Association},
title = {BOOKS RECENTLY PUBLISHED},
volume = {71},
year = {2014}
@article{10.2307/26357039,
ISSN = {00097004},
number = {2},
volume = {42},
year = {2017}
@article{10.2307/23985154,
ISSN = {09456945, 21995958},
author = {sch.},
number = {2},
pages = {5--5},
title = {Editorial: Neue Flaschenpost},
volume = {153},
year = {1992}
@article{10.2307/27753077,
ISSN = {11361700},
author = {J. M. Caparrós Lera},
journal = {Historia, Antropología y Fuentes Orales},
number = {26},
pages = {47--51},
publisher = {Historia, antropologia y fuentes orales},
title = {Comentario a "La batalla de Argel" de Gillo Pontecorvo},
year = {2001}
ISSN = {21678464, 19407610},
abstract = {Given that over half the music heard in the urban West accompanies the moving image, it's
strange that most institutions of music education and research still treat it as an extra. Part of the problem is
that knowledge relevant to music's production and structural denotation is separated from that relating to its
perception, uses and meanings. Despite the obvious skill with which the population at large can musically
distinguish in a split second between, say, detective chords, horse-riding rhythms, and Japanese or Parisian
instrumentation, such musical competence is often trivialized or ignored in conventional music teaching and
research. Drawing on experience from running Music and the Moving Image courses since 1993, this article
suggests ways in which the vernacular competence of the "nonmuso majority" can not only help improve
communication between musicians/composers and other professionals involved in audiovisual production
but also contribute to a reform of musicology by introducing a perception-based vocabulary for aspects of
musical expression (timbre, meter, acoustic staging, vocal persona etc.) that are often marginalized in
conventional music theory.},
author = {Philip Tagg},
number = {2},
pages = {9--33},
title = {Music, Moving Image, and the "Missing Majority": How Vernacular Media Competence Can Help
Music Studies Move into the Digital Era},
volume = {5},
year = {2012}
ISSN = {21678464, 19407610},
author = {Mark Suozzo},
number = {1},
pages = {18--37},
title = {A Conversation with Carter Burwell and Mark Suozzo},
volume = {12},
year = {2019}
@article{10.2307/43458864,
ISSN = {0015119X},
author = {J. HOBERMAN},
number = {3},
pages = {36--43},
title = {IN PRAISE OF Da Pasta},
volume = {48},
year = {2012}
@article{10.2307/41689923,
ISSN = {00097004},
author = {Richard Porton and Cynthia Lucia},
number = {4},
pages = {75--75},
title = {The Tribeca Film Festival},
volume = {30},
year = {2005}
@article{10.2307/26844642,
ISSN = {03515796, 18486924},
abstract = {The article focuses on the role played by contextual knowledge in appreciating the aesthetic
properties of musical works. The opportunity to distinguish between the expressive properties and the artistic
properties is discussed. Contextual knowledge functions as a kind of catalyst intervening in the (indirect)
supervenience of the aesthetic properties of musical works. Its impact is more crucial in appreciating the
artistic properties than in appreciating some basically expressive properties. Na koji način i do koje mjere
uvjerenja i kontekstualne spoznaje (kao što su poznavanje naslova, autora, sredine u kojoj je komponirano,
itd.) jednoga glazbenog djela uvjetuju percepciju njegovih estetičkih kvaliteta? U članku se nastoji odgovoriti
na to pitanje putem rasprave o filozofskoj doktrini estetičke neočekivanosti. Naročito se ispituje teorija
dvostruke neočekivanosti koju je formulirao Roger Pouivet, prema kojoj se – u slučaju glazbenih djela kao i u
svim umjetničkim djelima – estetička svojstva iznenada pojavljuju istodobno na fizičko-pojavnim svojstvima
kao i na intencionalnim svojstvima. Upozorava se na činjenicu da uvjerenja i kontekstualne spoznaje
funkcioniraju kao katalizator koji se upliće u indirektnu neočekivanost estetičkih svojstava u njihovom fizičko-
pojavnom temelju. Takve dispozicije valja promatrati u funkciji raznih glazbenih repertoara ili žanrova. Tada
se primjećuje da se učinak, koji se očituje u shvaćanju izražajnih svojstava djela osvješćivanjem njegova
povijesnog položaja i glazbenog žanra kojemu pripada, općenito pokazuje kao manje izrazit nego što je to
učinak koji se očituje u shvaćanju njegovih umjetničkih svojstava.},
author = {Alessandro Arbo},
journal = {International Review of the Aesthetics and Sociology of Music},
number = {2},
pages = {161--174},
publisher = {Croatian Musicological Society},
title = {On Appreciating the Aesthetic Properties of Musical Works},
volume = {49},
year = {2018}
@article{10.2307/26561997,
ISSN = {02136252},
abstract = {Ofrecemos sobre la música un apunte a partir de las tesis que Bueno ofrece en sus 12
conferencias sobre la Música, proponiendo una pequeña modificación en su teoría, tal y como apuntamos
en nuestro ensayo La ventana indiscreta de 2015. Las partes formales y materiales de la música no serían
las que corresponden con el sonido y el receptor, como propone Bueno, sino la melodía y la armonía. De
este modo entendemos el compuesto musical sonoro como un artefacto que sólo vive en el tiempo en que
suena, como realidad concreta, aunque esté recogida en partitura. La partitura viene a ser el contexto
normativo de la realización concreta musical, del mismo modo que la ceremonia se constituye como un
entramado normativo de la propia celebración de la ceremonia en su realización concreta también como
sociofacto, esto es, en cuanto sólo existe cuando se está realizando en presente dramático. A partir de aquí
ofrecemos una teoría acerca de los procesos de neutralización y síntesis de cursos operatorios distintos en
la conformación del acto musical sonoro. De ahí arribamos a la teoría general acerca de las ceremonias
como contexto determinante de la conformación de los teoremas de las artes miméticas, esto es, de las
obras de arte. We offer on the music a review based on the thesis that Gustavo Bueno offers in his 12
lectures on Music, proposing a small modification in his theory, as we pointed out in our essay The rear
window (2015). The formal and material parts of the music would not be those that correspond with the
sound and the receiver, as Well proposes, but the melody and the harmony. In this way we understand the
sound musical compound as an artifact that only lives in the time in which it sounds, as concrete reality, even
if it is collected in score. The score comes to be the normative context of the concrete musical realization,
just as the ceremony is constituted as a normative framework of the celebration of the ceremony itself in its
concrete realization also as socio-facto, that is, as it exists only when is performing in dramatic present. From
here we offer a theory about the processes of neutralization and synthesis of different operative courses in
the conformation of the musical sound act. From there we arrive at the general theory about ceremonies as
the determining context of the conformation of the theorems of the mimetic arts, that is, of works of art.},
author = {Pablo Huerga Melcón},
journal = {Ábaco},
number = {93},
pages = {82--96},
publisher = {Centro de Iniciativas Culturales y Estudios Economicos y Sociales (CICEES)},
title = {7 APUNTE SOBRE LA MÚSICA COMO CIENCIA MIMÉTICA Y LAS CEREMONIAS COMO
CONTEXTO DETERMINANTE DE LAS CIENCIAS MIMÉTICAS},
year = {2017}
@inbook{10.2307/j.ctv346sht.12,
ISBN = {9788491486381},
URL = {http://www.jstor.org/stable/j.ctv346sht.12},
abstract = {Al igual que comentamos en al respecto de la publicidad, puede resultar extraño incluir en este
trabajo al cine como medio de comunicación, pero la lógica es similar. Aunque el cine no informe, en el
sentido que lo hace la prensa, la radio o la televisión, comunica, como pasamos a desarrollar en el primer
punto de este capítulo.Que el cine es un medio que permite la comunicación de una multitud de mensajes
está fuera de toda duda. La capacidad que tiene para comunicar contenidos de toda índole – políticos,
sociales, económicos o estéticos–no es comparable a ningún otro medio.},
author = {Victoriano Darias de las Heras},
booktitle = {La música y los medios de comunicación},
edition = {1},
pages = {161--198},
title = {EL CINE Y LA MÚSICA},
year = {2018}
@inbook{10.2307/j.ctt183gxp6.16,
ISBN = {9780816501052},
URL = {http://www.jstor.org/stable/j.ctt183gxp6.16},
abstract = {Quentin Tarantino’sDjango Unchainedwas released on Christmas Day 2012. A movie poster
spotlighted the star, Jamie Foxx, standing front and center. Staring straight ahead with determination, he’s
dressed in black and wearing a cowboy hat with a silver studded band. Ready for action, he holds a six-gun.
Slightly behind him to the right stands costar Christoph Waltz, guarding his back with revolver in hand. On
the far left is Leonardo DiCaprio’s smarmy villain, holding a pipe and glaring menacingly. The tagline at the
top—“life, liberty and the pursuit of vengeance”—no doubt resonated with many Americans in an},
author = {Richard Aquila},
booktitle = {The Sagebrush Trail: Western Movies and Twentieth-Century America},
pages = {329--338},
publisher = {University of Arizona Press},
title = {EPILOGUE.: Django Unchained},
year = {2015}
@inbook{10.5749/j.ctv69t6p0.8,
ISBN = {9780816683130},
URL = {http://www.jstor.org/stable/10.5749/j.ctv69t6p0.8},
abstract = {The SF/horror hybrids of the late 1970s and early 1980s rejected the cleanly delineated sonic
novums of the big blockbusters of 1977 while still taking advantage of their expanded spatiality. Exploring the
dark side to the serial heroism ofStar Warsand the countless space operas that trailed in its wake, Ridley
Scott’sAlien(1979) andJohn Carpenter’s The Thing(1982) were retro in another way, tapping directly into
golden age sensibilities of 1950s SF to mine the unsettling paranoias of alien invasion. The alien noise things
of this retro–golden age SF can burst out of any sound, at},
author = {TRACE REDDELL},
booktitle = {The Sound of Things to Come: An Audible History of the Science Fiction Film},
pages = {361--434},
title = {Sonorous Object-Oriented Ontologies (1979–89)},
year = {2018}
@inbook{10.3366/j.ctt1bh2hs9.15,
ISBN = {9780748695454},
URL = {http://www.jstor.org/stable/10.3366/j.ctt1bh2hs9.15},
abstract = {Offering a punchy satire on the racism prevalent in America’s colonial past, Quentin Tarantino’s
Django Unchained (2012) bound Blaxploitation cinema with the Spaghetti Western. The titular hero is rooted
in Sergio Corbucci’s Django (1966), while Tarantino’s violent and parodic style draws upon the vision of the
Old West derived from these Italian Westerns. However, drawing upon the outrageous hyper-violence and
audacious humour of this film, one reviewer noted that it resembled a ‘comic book nightmare’ (Bradshaw
2013). What is interesting in this fleeting analogy is the implicit link drawn between the Spaghetti Western
and the comic book. Indeed, critical approaches},
author = {William Grady},
booktitle = {Spaghetti Westerns at the Crossroads: Studies in Relocation, Transition and Appropriation},
pages = {213--238},
title = {For a Few Comic Strips More: Reinterpreting the Spaghetti Western through the Comic Book},
year = {2016}
@inbook{10.7591/j.ctt1tm7gdx.31,
URL = {http://www.jstor.org/stable/10.7591/j.ctt1tm7gdx.31},
abstract = {In 1946, Woody Guthrie decided that that he wanted to write and record songs about Nicola
Sacco and Bartolomeo Vanzetti, Italian American anarchists who many believed had been wrongly convicted
of robbery and murder in Massachusetts in 1921 and then executed in 1927. With an advance of a few
hundred dollars from Moses Asch, the owner of Folkways Records, Guthrie set out for Boston with his friend
the folksinger Cisco Houston. They visited South Braintree, where the crime had been committed, and
Bridgewater, where the trial had been held. In January 1947 Guthrie recorded what he called “the most
important},
author = {Richard Polenberg},
booktitle = {Hear My Sad Story: The True Tales That Inspired "Stagolee," "John Henry," and Other
Traditional American Folk Songs},
edition = {1},
pages = {251--260},
publisher = {Cornell University Press},
title = {SACCO AND VANZETTI (1927)},
year = {2015}
@inbook{10.2307/j.ctv9zch5n.12,
ISBN = {9788491489450},
URL = {http://www.jstor.org/stable/j.ctv9zch5n.12},
abstract = {Decía Steven Runciman que “el torrente de la Historia fluye de modo inexorable y no hay dique
que lo detenga” cuando, al comienzo deLa caída de Constantinopla , negaba al asalto final de los otomanos
a la milenaria capital imperial el 29 de mayo de 1453 el carácter de un acontecimiento determinante para un
cambio de época130 . Y, siguiendo el mismo razonamiento torrencial, la corriente que inundó decisivamente
el alba del segundo milenio fue el descubrimiento de América. Acontecimiento, porque se produjo de
manera eminentemente concreta, se convirtió en un instante creador, abrumó, sorprendió y maravilló a la
humanidad. Y},
booktitle = {El sol ofuscado.Derecho e Historia en el Cine y la Literatura. La Edad Moderna},
edition = {1},
pages = {119--136},
title = {CONTINUO DESPLAZAMIENTO, ESPEJO GEOGRÁFICO: LA AMÉRICA ESPAÑOLA},
year = {2018}
@inbook{10.2307/j.ctv9zch5n.15,
ISBN = {9788491489450},
URL = {http://www.jstor.org/stable/j.ctv9zch5n.15},
booktitle = {El sol ofuscado.Derecho e Historia en el Cine y la Literatura. La Edad Moderna},
edition = {1},
pages = {161--248},
title = {65 PELÍCULAS CON FOUQUET},
year = {2018}
@inbook{10.1525/j.ctt1jd948d.14,
URL = {http://www.jstor.org/stable/10.1525/j.ctt1jd948d.14},
abstract = {Music during the end titles can be heard as a narrowly formal, even industrial requirement of film
form. Many PCFs transform this stretch of time into a space for sustained reflection on the core concerns of
the subgenre: the soldier, the veteran, the proper response by the moviegoer as citizen to narratives of
personal sacrifice for the nation.Hymns for the Fallencomes to its close with an examination of music for the
end titles, both in its own right and as related to music at the moment of narrative closure. PCF directors and
composers frequently use the ends of},
author = {TODD DECKER},
booktitle = {Hymns for the Fallen: Combat Movie Music and Sound after Vietnam},
edition = {1},
pages = {241--266},
publisher = {University of California Press},
title = {End Titles},
year = {2017}
abstract = {Inexperienced soldiers learn quickly to be good listeners. Interpreting how sounds define the
battle zone is a basic first step for any cherry or FNG (fucking new guy). Early inHamburger Hill(1987), the
nervous Bienstock cries out about artillery rounds, “I can’t tell the difference between incoming and
outgoing.” In episode 9 ofThe Pacific(2010), Sledge, now a combat veteran, mocks replacements joining his
squad on Okinawa who are similarly ignorant of such basic battlefield signals.Combat movie audiences also
need to be instructed in how to follow battles by ear. Teaching a cherry to interpret sounds also},
edition = {1},
pages = {125--144},
title = {Nothing Sounds Like an M-16},
year = {2017}
abstract = {Before Vietnam, Hollywood war movies marched.Movies about the Marines almost invariably
used “The Marines’ Hymn,” a smart, once universally known march, as primary musical material. Such movie
score musical branding lent authentic tuneful luster to what Lawrence Suid has called “the one branch that
over the years has best publicized its role in the nation’s martial history.”¹ The “Hymn” dominates Marine
films made during and just after World War II—for instance inWake Island(1942),Guadalcanal Diary(1943),
andSands of Iwo Jima(1949)—and resounds into the 1950s. Max Steiner’s score forBattle Cry(1955) uses
select},
edition = {1},
pages = {173--188},
title = {Unmetered},
year = {2017}
@inbook{10.2307/j.ctt1ht4v6v.8,
URL = {http://www.jstor.org/stable/j.ctt1ht4v6v.8},
abstract = {It’s not easy trying to describe major cultural change. At school they taught us that a series of
small events eventually gives rise to something new. In movies, there’s a major event, then a fade to black,
and everything’s different in the next scene. I’ve always felt more at ease in a cinema than a classroom.
What’s more, I’d just faded to black myself, almost literally. Which is why, for me, it felt like the sixties began
overnight. I went to sleep beneath the clouds of De Sica and Rossellini and woke in the sunshine of Pietro
Germi and Federico},
author = {GIANNI BOZZACCHI and JOEY TAYLER},
booktitle = {My Life in Focus: A Photographer's Journey with Elizabeth Taylor and the Hollywood Jet Set},
pages = {39--54},
publisher = {University Press of Kentucky},
title = {After the Neorealism},
year = {2017}
@inbook{10.7722/j.ctt1814gv6.44,
ISBN = {9781783270705},
URL = {http://www.jstor.org/stable/10.7722/j.ctt1814gv6.44},
abstract = {Debbie Wiseman is unarguably a specialist composer, known almost exclusively for her two-
hundred-plus scores for film (Arsène Lupin, Tom & Viv, Wilde) and television (Jackanory, Judge John Deed,
The Promise). Unlike her fellow film composer Christopher Gunning, for example, she has no parallel body of
concert music that has been overshadowed by her work for the screen, and she’s happy to be a leading fish
in one of classical music’s ponds rather than a minnow in the mainstream.Because her pond is a commercial
(and presumably competitive) one, she knows the importance of self-promotion, and so, although she
doesn’t – I},
author = {Andrew Palmer},
booktitle = {Encounters with British Composers},
pages = {455--464},
publisher = {Boydell & Brewer},
title = {Debbie Wiseman},
year = {2015}
@inbook{10.2307/j.ctv13840km.5,
ISBN = {9781999334024},
URL = {http://www.jstor.org/stable/j.ctv13840km.5},
abstract = {Children of Men eschews the glamorous production values of the standard Hollywood film and
moves into the transgressive realm of simulated reportage. Unique for science fiction, Cuarón elaborates the
film’s realism by amalgamating a handheld camera with uninterrupted long takes, complex compositions with
multiple planes of action, and an emphasis on medium and long-distance shots rather than close-ups. This
visual style reflects the aesthetic of French film theorist Andre Bazin (1918-1958), who argued that this
approach encouraged the audience to freely interact with the image and enhanced the film’s believability,
tension, and spontaneous energy.Adding to the sense of authenticity,},
author = {Dan Dinello},
booktitle = {Children of Men},
pages = {39--66},
publisher = {Liverpool University Press},
title = {Documenting the Future: Visual Design},

year = {2019}
@inbook{10.2307/j.ctv125jm6c.21,
ISBN = {9780822361862},
URL = {http://www.jstor.org/stable/j.ctv125jm6c.21},
abstract = {Damaged by the opening of the Saint, 12 West closed in early 1981. “The crowd was thinning out
and my partners became greedy,” recalls owner Alan Harris. “My feeling was, reinvest in the club because
there was enough room in town for multiple venues. But my partners wanted the same financial arrangement
they had when the club was in its heyday. They were straight and didn’t care.” After a brief hiatus the venue
reopened as the West and then the River Club. DJ John Ceglia notes that the crowd contained more women,
was a little older, and preferred a more},
author = {Tim Lawrence},
booktitle = {Life and Death on the New York Dance Floor, 1980–1983},
pages = {221--231},
title = {FROZEN IN TIME OR FREED INTO INFINITY},
year = {2016}
@inbook{10.2307/j.ctv1dhph54.6,
ISBN = {9780674052819},
URL = {http://www.jstor.org/stable/j.ctv1dhph54.6},
abstract = {Black feminist music criticism takes flight with a voice—one that is perched on the edge of the
modern era, one that manifests the turbulence of postbellum dislocation and pre-Harlem Renaissance
fanciful aspiration, one that is both here and elsewhere, soaring and subterranean, thick with the sounds of
its own opaque eccentricities yet simultaneously reaching into the registers of a diva soprano’s ethereal
upper regions—all at once. Black feminist music criticism takes flight in 1903 when agit-prop, sci-fi, Pan-
Africanist, antilynching novelist, journalist, historian, and former vocalist Pauline Hopkins navigates her
nearly tragic mulatta heroine Dianthe Lusk through the thickets},
author = {DAPHNE A. BROOKS},
booktitle = {Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound},
pages = {65--123},
publisher = {Harvard University Press},
title = {TOWARD A BLACK FEMINIST INTELLECTUAL TRADITION IN SOUND},
year = {2021}
@inbook{10.7312/breg19148.6,
ISBN = {9780231194181},
URL = {http://www.jstor.org/stable/10.7312/breg19148.6},
abstract = {In many ways, the legacy of the European art cinemas discussed in chapter 2 is still very much
alive in contemporary European cinema. Some of the auteurs—including Jean-Luc Godard—have remained
active, and a new generation of filmmakers grew up influenced by them, as indicated by Fatih Akın’s interest
in Rainer Werner Fassbinder discussed in chapter 1. Furthermore, several “new” new waves have been
celebrated for probing different forms of phenomenological realism, austerity, and minimalism, from Dogme
95 to the Romanian “new wave” and the so-called Berlin School—or nouvelle vague Allemande—of the
2000s.¹ Over the course of},
author = {Claudia Breger},
booktitle = {Making Worlds: Affect and Collectivity in Contemporary European Cinema},
pages = {113--154},
title = {Genre Assemblages: Affective Incisions in Fatih Akın’s The Cut and Aki Kaurismäki’s Refugee
Trilogy},
year = {2020}
@inbook{10.2307/j.ctv120qs3d.5,
ISBN = {9781478005889},
URL = {http://www.jstor.org/stable/j.ctv120qs3d.5},
abstract = {Theodor Adorno’s remarks about how to conceive the critical aspects of punctuation (quoted in
the Introduction) is the initial inspiration for my application of the concept of punctuation to music:There is no
element in which language resembles music more than the punctuation marks. The comma and the period
correspond to the half-cadence and the authentic cadence. Exclamation points are like silent cymbal
clashes, question marks like musical upbeats, colons dominant seventh chords; and only a person who can
perceive the different weights of strong and weak phrasings in musical form can really feel the distinction
between the comma and},
author = {michael j. shapiro},
booktitle = {Punctuations: How the Arts Think the Political},
pages = {27--54},
title = {HOW “POPULAR” MUSIC THINKS THE POLITICAL},
year = {2019}
@inbook{10.7312/byrn18534.7,
ISBN = {9780231185349},
URL = {http://www.jstor.org/stable/10.7312/byrn18534.7},
abstract = {To understand the art, one must understand the artist. The journey ofJohnny Suedebegins in the
early 1970s, with a young Tom DiCillo’s decision to move to New York City to attend NYU’s Graduate Film
Program. Having been struck by the emotional power of Federico Fellini’sLa Stradaand fuelled by a passion
for still photography and literature, DiCillo was eager to study the great consummate marriage of images and
storytelling: cinema.His intense fascination with the seminal European masters – Fellini, Godard, Bergman
and Buñuel – cultivated an aesthetic in DiCillo which would merge well with the searing influence of},
author = {wayne byrne},
booktitle = {The Cinema of Tom DiCillo: Include Me Out},
pages = {20--43},
title = {Johnny Suede: (1991)},
year = {2017}
@article{10.2307/26574445,
ISSN = {00695696, 2334203X},
author = {Melissa E. Hoag},
journal = {College Music Symposium},
publisher = {College Music Society},
title = {Integration, Diversity, and Creativity in Current Music Theory Pedagogy Research},
volume = {56},
year = {2016}
ISSN = {21678464, 19407610},
author = {Paul Chihara},
number = {1},
pages = {3--18},
title = {Howard Shore: A Conversation with Paul Chihara},
volume = {11},
year = {2018}
@article{10.5406/jazzculture.2.2019.0027,
ISSN = {25784765, 25784773},
URL = {https://www.jstor.org/stable/10.5406/jazzculture.2.2019.0027},
author = {Gretchen Carlson},
journal = {Jazz & Culture},
number = {},
pages = {27--58},
title = {Risk, Creative Labor, and the Integrative Jazz-Film: Producing the Improvised Soundtracks of
Birdman and Afterglow},
volume = {2},
year = {2019}
@article{10.22513/bach.50.2.0220,
ISSN = {00053600},
URL = {https://www.jstor.org/stable/10.22513/bach.50.2.0220},
abstract = {In the early 1960s, Pier Paolo Pasolini, already one of the leading intellectuals of postwar Italy,
embarked on a remarkable career as a film director that included Accattone (1961) and Il Vangelo Secondo
Matteo (The Gospel According to St. Matthew, 1964). Like other Pasolini works, these two films portray gritty
underclass worlds, one set in contemporary postwar Italy, the other in biblical times. Since the subject of
these two films is a marginalized society, the temptation is to view them as political and cultural
commentaries. Like Fellini's La Strada (1954), Pasolini's films outwardly adopt a Neo-Realist ethos. But in
fact they quickly reveal an impressionistic ethos, one that places their characters and stories in a timeless
world. The characters of both Accattone and Vangelo seem isolated from the world at large, and are thus
infused with a sense of epic myth. Violence and poverty are primal elements, far removed from the economic
and social “progress” that embodied postwar Italy. This article explores Pasolini's use of the works of J. S.
Bach as aesthetic, structural, and transformative devices. In both films, Pasolini relied on Bach's music to
sublimate the marginalized worlds and their characters, enabling them to transcend their gritty outward
nature. In particular, Pasolini's use of Bach's St. Matthew Passion invites an interpretation that often
contradicts the profane visual and narrative elements of the films. But Pasolini's use of music goes beyond
aesthetic enhancement. Bach's St. Matthew Passion, as a religious object, transforms his characters
(straightforwardly in the case of Christ, but counterintuitively in the case of Vittorio/Accattone) into
mythological, spiritual figures who become both sacrificed and sacrosanct.},
author = {Mark Brill},
journal = {Bach},
number = {2},
pages = {220--253},
publisher = {Riemenschneider Bach Institute},
title = {The Consecration of the Marginalized: Pasolini's Use of J. S. Bach in Accattone (1961) and Il Vangelo
Secondo Matteo (1964)},
volume = {50},
year = {2019}
@article{10.2307/26574384,
ISSN = {00695696, 2334203X},
author = {Franco Sciannameo},
title = {Civic Pride and Musicology},
volume = {54},
year = {2014}
@article{10.2307/43459328,
ISSN = {0015119X},
author = {Scott Foundas},
number = {4},
pages = {26--29},
title = {Blowback},
volume = {48},
year = {2012}
@article{10.2307/23993827,
ISSN = {09456945, 21995958},
author = {WOLF LOECKLE and PETER RUZICKA},
number = {2},
pages = {55--57},
title = {«der blick des anderen»: WOLF LOECKLE IM GESPRÄCH MIT PETER RUZICKA ZUR 12.
MÜNCHENER BIENNALE},
volume = {171},
year = {2010}
@article{10.2307/43456643,
ISSN = {0015119X},
author = {Larry Gross},
number = {1},
pages = {22--23},
title = {A BLAST FROM THE PAST THAT CONTINUES TO RESONATE},
volume = {40},
year = {2004}
@article{10.2307/24365857,
ISSN = {07433204},
author = {Joan Jonas and Rosa Barba},
journal = {BOMB},
number = {131},
pages = {30--37},
publisher = {New Art Publications},
title = {Rosa Barba},
year = {2015}
@article{10.2307/26759677,
ISSN = {00327638, 2271197X},
author = {Sylvain SANKALE},
journal = {Présence Africaine},
number = {191},
pages = {63--76},
publisher = {Présence Africaine Editions},
title = {Ousmane Sow est mon ami…},
volume = {},
year = {2015}
@article{10.2307/45151728,
ISSN = {00274801},
author = {Nico Schneidereit},
number = {4},
pages = {370--386},
title = {Eric Whitacres „Virtual Choir“ als Chormusik 2.0 – Gemeinschaftliches Musizieren ohne
Gemeinschaft?},
volume = {70},
year = {2017}
@inbook{10.1525/j.ctt1zk0mxk.13,
ISBN = {9780520291508},
URL = {http://www.jstor.org/stable/10.1525/j.ctt1zk0mxk.13},
abstract = {In the fall of 2003, a few months into the Iraq war, the Pentagon screened Gillo Pontecorvo’s
filmLa battaglia di Algeri(The Battle of Algiers), from 1966, for a group of senior officers. The screening of the
film, a reenactment of the insurgency of the National Liberation Front (Front de Libération Nationale;
hereafter FLN) against the French in Algiers in 1957, made news: “What does the Pentagon see in ‘Battle of
Algiers’?” asked theNew York Times. Why indeed would the American ministry of defense be interested in an
old black-and-white art-house film about a war in which the},
author = {Vinzenz Hediger},
booktitle = {Cinema's Military Industrial Complex},
edition = {1},
pages = {157--174},
title = {EPISTEMOLOGY OF THE CHECKPOINT: Gillo Pontecorvo’s Battle of Algiers and the Doctrine of
Counterinsurgency},
year = {2018}
@inbook{10.2307/j.ctv5cg90z.11,
ISBN = {9781911116073},
URL = {http://www.jstor.org/stable/j.ctv5cg90z.11},
abstract = {Beyond publishing, recording and live performance, music is economically relevant in secondary
markets as an important input factor. Music is integral content in radio and television broadcasting, in
television films and motion pictures, as well as in games and advertisements. Music licensing links the
primary music markets to the secondary ones. This chapter focuses on the relevant secondary music
markets and sheds light on the prevailing business models. Moreover, as branding, sponsoring and
merchandising are relatively new income sources for musicians, it is useful to analyse these aspects of the
music business, too.As highlighted in Chapter 1, radio played},
author = {PETER TSCHMUCK},
booktitle = {The Economics of Music},
pages = {137--156},
publisher = {Agenda Publishing},
title = {SECONDARY MUSIC MARKETS},
year = {2017}
abstract = {This book attends to the sonic content of prestige combat films (PCFs) by parsing their
soundtracks along three expressive domains—dialogue, sound effects, and music—which in turn reflect
discrete industrial and creative contexts. “Dialogue” refers to words meant to be understood and is primarily
recorded on the set, then re-recorded (or looped) as needed in postproduction. Sound effects are central to
combat film storytelling. The sounds of weapons and machines drive battle plots, organize the space of the
battlefield, and bring particular war materiel to life—the rocket-propelled grenade (RPG) and helicopter have
both been exploited for their cinematic},
edition = {1},
pages = {35--62},
title = {Soundtracks and Scores},
year = {2017}
@inbook{10.1525/j.ctt1pnb5m.40,
ISBN = {9780520241015},
URL = {http://www.jstor.org/stable/10.1525/j.ctt1pnb5m.40},
abstract = {By the early 1960s, the anxieties that Hollywood experienced after the war had blossomed into
something much more than temporary insecurity. The industry was now, as some scholars have described it,
“at the nadir of a long transformation,” the studios so beleaguered that the industry was in full recession and
hovered, in the opinion of many, “near death.”¹ The statistics outline this decline in starkly dramatic terms. In
1946, cinema attendance stood at a high of roughly 90 million, but by 1960 attendance figures had dropped
to 40 million, and they continued to fall into the early 1970s, hitting an},
booktitle = {Celluloid Symphonies: Texts and Contexts in Film Music History},
edition = {1},
pages = {289--314},
title = {[PART FOUR. Introduction]},

year = {2011}
@inbook{10.2307/j.ctvbnm2mx.6,
URL = {http://www.jstor.org/stable/j.ctvbnm2mx.6},
abstract = {Following the initial flow of mass migration in the 1990s, migrants of diverse nationalities began to
pursue economic survival with various kinds of unauthorized labor in the streets of Italian cities—as
windscreen washers, unlicensed street vendors, or sex workers. Although the number of people engaged in
these activities constituted a small percentage of the immigrant population as a whole, the increasing
visibility of foreigners in public spaces fed into popular perceptions of the migrant as a disruptive figure
perpetually engaged in intrusive or illicit activities. Reinforcing these perceptions, the Italian media began to
generate sensational reports of an imputed},
author = {Áine O’Healy},
booktitle = {Migrant Anxieties: Italian Cinema in a Transnational Frame},
pages = {51--77},
title = {Traffic from the East: GENDER, LABOR, AND BIOPOLITICS},
year = {2019}
@inbook{10.1525/j.ctt19632sc.13,
ISBN = {9780520287372},
URL = {http://www.jstor.org/stable/10.1525/j.ctt19632sc.13},
abstract = {PLOT.Days of Heaven(1978). The story is set initially in Chicago and thereafter in the Texas
Panhandle in 1916–17. The film is narrated in voiceover by Linda (Linda Manz), a girl of about twelve years
of age, whose older brother, Bill (Richard Gere), is the lover of Abby (Brooke Adams). They are destitute. Bill
works in a foundry; Abby salvages detritus from garbage heaps; Linda makes paper flowers. Bill, provoked at
work by his foreman, attacks and perhaps kills him, and immediately runs. Soon thereafter the trio flee
Chicago, heading west by hopping a freight train. Once in},
author = {Richard Leppert},
booktitle = {Aesthetic Technologies of Modernity, Subjectivity, and Nature: Opera, Orchestra, Phonograph,
Film},
edition = {1},
pages = {207--240},
title = {SOUND, SUBJECTIVITY, AND DEATH: Days of Heaven (promesse du bonheur)},
year = {2015}
@inbook{10.2307/j.ctt9qcx6j.10,
ISBN = {9781782382805},
URL = {http://www.jstor.org/stable/j.ctt9qcx6j.10},
abstract = {In the sequence that endsAlways Ascending(Hemri La’Ad,Chen Shelach, 2008), a film produced
by the Shalev family in memory of their son, Nissan Shalev, the well-known Israeli singer Leah Shabat sits in
the family living room with her guitar. At this point we understand that the series of guitar chords heard
throughout the film were played by her, and here they are ultimately joined and attuned to a riff that opens
one of her most famous songs,Always Be Waiting for You. Shalev’s sisters sit next to her and tell her that a
day before the funeral they},
author = {Laliv Melamed},
booktitle = {Silence, Screen, and Spectacle: Rethinking Social Memory in the Age of Information},
edition = {1},
pages = {95--117},
title = {Learning by Heart: Humming, Singing, Memorizing in Israeli Memorial Videos},
year = {2014}
@inbook{10.2307/j.ctvwh8cs7.7,
URL = {http://www.jstor.org/stable/j.ctvwh8cs7.7},
booktitle = {Almanach der Universität Mozarteum Salzburg: Studienjahr 2018/19},
pages = {123--168},
publisher = {Hollitzer Verlag},
title = {BERICHTE},
volume = {13},
year = {2020}
@inbook{10.5749/j.ctttsc3t.6,
ISBN = {9780816656073},
URL = {http://www.jstor.org/stable/10.5749/j.ctttsc3t.6},
abstract = {The worldwide success ofThe Bird With the Crystal Plumagesimplified the financing of Argento’s
second film, whose title -The Cat O’Nine Tails -may well be the most irrelevant he ever concocted,
thoughFour Flies on Grey Velvetprovides stiff competition. The picture that was “nine times more
suspenseful” thanThe Bird With the Crystal Plumage -or so claimed the copywriters who conceived the
American advertising campaign - was set against a backdrop of genetic research and industrial espionage,
but its underlying thematic concerns are very much in line with those of its predecessor: the almost limitless},
author = {Maitland McDonagh},
booktitle = {Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento},
pages = {59--90},
title = {THE CAT O’NINE TAILSand FOUR FLIES ON GREY VELVET},
year = {2010}
@inbook{10.2307/j.ctt1m3p24b.17,
ISBN = {9788874628810},
URL = {http://www.jstor.org/stable/j.ctt1m3p24b.17},
abstract = {«Fino a pochissimi mesi fa, all’apice di un travagliatissimo periodo nero, altro non si faceva che
girare in lungo e in largo l’Italia alla ricerca disperata di una città in cui venisse offerto il maggior numero di
“uscite di sicurezza” a una condizione di vita sempre più precaria e sempre più abulica. Parve allora di
identificare ogni città “abitata” con un sentimento o una attività ben precisa»¹.Siamo al passaggio tra gli anni
Settanta e gli anni Ottanta, e a parlare è Pier Vittorio Tondelli, rappresentante della generazione che si
affaccia allora con interesse e curiosità alla nuova decade, seguendo},
author = {Ilaria Cicali and Giorgia Marotta},
booktitle = {Arte a Firenze 1970-2015: Una città in prospettiva},
pages = {193--212},
publisher = {Quodlibet},
title = {«Westuff» (1984-1987).: Osservatorio in atto della creazione italiana e internazionale},
year = {2016}
@inbook{10.7312/metz17366.14,
ISBN = {9780231173667},
URL = {http://www.jstor.org/stable/10.7312/metz17366.14},
abstract = {I am adopting Michel Chion’s term “I-voice” [voix-Je]¹ to designate the voice-off of the character
who is narrating (what they call voice-over in English). Characters can use a different voice-off, which Chion
prefers to call out-of-frame,² which is when they can be heard while they are located (in the story) outside the
scene but within sonic range. The latter belongs to what is being narrated, but it is the narrating voice that I
want to address here.A character tells us what has happened or (more rarely) what is happening to him. This
does not necessarily carry on throughout the},
author = {CHRISTIAN METZ and CORMAC DEANE and DANA POLAN},
booktitle = {Impersonal Enunciation, or the Place of Film},
pages = {107--120},
title = {THE I-VOICE AND RELATED SOUNDS},
year = {2016}
@inbook{10.2307/j.ctv11cw2mf.14,
ISBN = {9780822360506},
URL = {http://www.jstor.org/stable/j.ctv11cw2mf.14},
author = {Javier Cardona and Andreea Micu},
booktitle = {Blacktino Queer Performance},
pages = {243--263},
title = {Ah mén},
year = {2016}
@inbook{10.2307/j.ctv16kkxtz.31,
ISBN = {9781781884690},
URL = {http://www.jstor.org/stable/j.ctv16kkxtz.31},
abstract = {In his monograph on Calvino, published by Edinburgh University Press in its splendid series ‘The
Writers of Italy’, Martin McLaughlin dedicates an entire chapter to the 1947 novel Il sentiero dei nidi di ragno.¹
McLaughlin’s chapter, read by generations of scholars and students, describes the novel as ‘a small-scale
epic’, as a ‘canonical text of neorealism’, but also as a work which ‘occupies a problematic place in the
history of post-war Italian literature’.² In 2015, in confirmation of the novel’s canonicity, Il sentiero was placed
on the syllabus for the maturità exam, with students asked to write a piece of},
author = {Philip Cooke},
booktitle = {Cultural Reception, Translation and Transformation from Medieval to Modern Italy: Essays in
Honour of Martin McLaughlin},
edition = {FST - Festschrift},
pages = {383--394},
publisher = {Modern Humanities Research Association},
title = {‘Double trouble’: Giampaolo Pansa’s Il sangue dei vinti from Novel to Film},
year = {2017}
@article{10.2307/23560123,
ISSN = {00095028, 21632170},
author = {Tim Sharp},
journal = {The Choral Journal},
number = {12},
pages = {2--5},
publisher = {American Choral Directors Association},
title = {From the Executive Director},
volume = {49},
year = {2009}
@article{10.5699/yearworkmodlang.75.2013.0358,
ISSN = {00844152, 22224297},
URL = {http://www.jstor.org/stable/10.5699/yearworkmodlang.75.2013.0358},
author = {Piero Garofalo},
journal = {The Year's Work in Modern Language Studies},
pages = {358--369},
publisher = {[Modern Humanities Research Association, Brill]},
title = {Italian Studies: Film Studies},
volume = {75},
year = {2015}
@article{10.2307/26332326,
ISSN = {00039292},
abstract = {Since the early days of cinema, Richard Wagner's The Ride of the Valkyries has time and again
been used in film. Drawing on 29 examples, the author questions how Wagner's primary material is
individually adapted and then compares these film adaptations to the original. The results are systematized
according to Gérard Genette's theory of hypertextuality as it appears in Serge Lacasses's modified form for
its application to music: the relationship between the primary material (hypotext) and the resulting film music
(hypertext) can then be categorized according to reference types and compositional structure and design.
The concluding discussion focuses on the difficulties that arise when a text-based theory of intertextuality is
applied to music, in this case, film music.},
author = {CHRISTINA ZENK},
journal = {Archiv für Musikwissenschaft},
number = {2},
pages = {78--102},
publisher = {Franz Steiner Verlag},
title = {Die "Walküren" und kein Ende: Eine Systematisierung von Referenztypen in Filmen},
volume = {74},
year = {2017}
ISSN = {21678464, 19407610},
abstract = {While the technical aspects of music editing and filmmaking continue to evolve, the fundamental
nature of storytelling remains the same. Ideally, the role of the music editor exists at an intersection between
the composer, director, and picture editor, where important creative decisions are made. The music editor
initiates the first foray into a film's musical aesthetics—creating a temp score that breathes new life into the
film and serves as a guide track for the composer. When the composer arrives, the music editor facilitates
smooth communication and translation between composer and director and ensures the realization of the
score. Lastly, the music editor serves as the composer's advocate in all stages of production and
chaperones the music from cradle to grave. This privileged position allows the music editor to better explore
how to tell the story through music and bring the evolving vision of the film into tighter focus.},
author = {Nancy Allen},
number = {2},
pages = {3--15},
title = {Music Editing: Process to Practice—Bridging the Varied Perspectives in Filmmaking and Storytelling:
2016 Music and the Moving Image Conference Keynote Address},
volume = {10},
year = {2017}
@article{10.2307/44234968,
ISSN = {03515796},
abstract = {Ausgehend vom Spiel, werden Gleichheiten, Ähnlichkeiten, Unterschiede und Gegensätze zur
Kunst bzw. Musik herausgearbeitet. Spiel und Kunst müssen von der alltäglichen Realität, von der Welt der
Arbeit, abgegrenzt werden, damit ihre Zwecksetzungen wie Harmonie und Freude imaginär-real verwirklicht
werden kǒnnen. Das Agonale, damit der Zufall im Verbund mit strikter Einhaltung der Regeln spielen in
Kunst keine zentrale Rolle. Für sie wesentlich sind die Vergegenständlichung in einem-gegebenenfalls
prozesshaften-.Werk', der hohe Eigenwert des sinnlich-geistigen Materials samt Technik und die dadurch
intensivierte Komplexität der Mimesis der Wirklichkeit, damit der Erkenntnis und der sowohl vertieften als
auch reflektierten kathartischen Wirkung. With play as a starting point, congruities, similarities, differences,
and contrasts to art, e.g. music, will be explored. Play and art must be segregated from everyday reality,
from the world of work/labour, so that their aims such as harmony and joy can be realized in an imaginary-
real mode. The agonal, and with it coincidence in union with a strict adherence to rules, does not play a
central role in art. Essential for art is the reification in an often processual ,work' and the high intrinsic value
of the sensual-cognitive material together with technique, and the thereby intensified complexity of the
mimesis of reality and with that the insight and as well deepened as reflected cathartic effect. Polazeći od
igre kao ishodišne točke, u članku se istražuju sukladnosti, sličnosti i suprotnosti umjetnosti, odnosno glazbe.
Igra i umjetnost moraju biti odvojeni od svakodnevne stvamosti, od svijeta rada i muke, tako da njihovi ciljevi
kao što su sklad i radost mogu biti ostvareni na imaginamo-stvarni način. Agonalno i s njim poklapanje u
zajedništvu sa strogim prianjanjem uz pravila ne igraju središnju ulogu u umjetnosti. Bitno je za umjetnost
postvarenje u često procesualnom 'radu' i visoka nutamja vrijednost osjetilno-kognitivnog materijala zajedno
s tehnikom, te uslijed toga intenzivirana složenost oponašanja stvarnosti i s time uvid kao i produbljen i
reflektiran katarktički učinak.},
author = {Hanns-Werner Heister},
number = {2},
pages = {171--194},
title = {Spiel und Musik. Eine systematische Skizze},
volume = {47},
year = {2016}
@article{10.2307/43818949,
ISSN = {00039292},
abstract = {Dallapiccola is rightly recognized as one of the most important Italian composers of the twentieth
century. His interest in dodecaphony was initially kindled from the closing chapters of Schoenberg's
Harmonielehre ("Quarten-Akkorde"). The 1930s were then devoted to cautious searching and
experimentation and led to the triptych Liriche greche in 1945, which represents a decisive compositional
turning point. This work also brought Dallapiccola in contact with René Leibowitz, whose constructive
criticism deepened Dallapiccola's understanding of twelve-tone technique, yet also incited in him resistance.
The chord of an ascending diminished fifth followed by a perfect fourth was to become the "accordo
fondamentale" of Dallapiccola's music, as notably demonstrated in Ulisse (1968), his only full-scale opera.},
author = {DIETRICH KÄMPER},
number = {4},
pages = {262--276},
title = {„Verso la sensibilità, non verso la teoria“: Luigi Dallapiccolas Weg zur Zwölftontechnik},
volume = {72},
year = {2015}
@article{10.2307/90012329,
ISSN = {00182206, 21656185},
author = {Kathleen M. Vernon},
journal = {Hispanófila},
number = {177},
pages = {11--26},
publisher = {University of North Carolina at Chapel Hill for its Department of Romance Studies},
title = {EL SONIDO CINEMATOGRÁFICO},
year = {2016}
ISSN = {21678464, 19407610},
author = {Gillian B. Anderson},
number = {3},
pages = {31--43},
title = {Interview of Peter Bernstein},
volume = {6},
year = {2013}
@article{10.2307/43459781,
ISSN = {0015119X},
author = {Chris Chang and Jesse P. Finnegan and JONATHAN J. GOLDBERG},
number = {5},
pages = {6--11},
title = {OPENING SHOTS},
volume = {46},
year = {2010}
@article{10.2307/43458013,
ISSN = {0015119X},
author = {Chris Chang and Jesse P. Finnegan and MALCOLM McDOWELL},
number = {4},
pages = {6--12},
title = {OPENING SHOTS},
volume = {47},
year = {2011}
@article{10.2307/23995311,
ISSN = {09456945, 21995958},
number = {2},
pages = {12--19},
title = {DOKUMENTATION — LABOR — VERZAUBERUNG: PUNKTUELLE BEOBACHTUNGEN ZUR

GESCHICHTE DES ELEKTROAKUSTISCHEN KOMPONIERENS},
volume = {175},
year = {2014}
ISBN = {9780748693528},
abstract = {The Argento Syndrome is my term for discussing filmmaker Dario Argento’s consistent, even
obsessive, explorations on film of the nature and effects of creating and viewing violence. Argento’s films are
an unrelenting investigation of the cinematic uses of memory, trauma and distorted vision, and the cinematic
body as threatened site of attack, mutilation and death. The films are symptomatic of a politics and
aesthetics that invoke the powers of internalised and externalised forms of horror, particularly tied to the
twentieth century and to the uses of media technology, including computer-generated effects. In their blurring
of fact and fantasy, challenges to},
author = {Marcia Landy},
pages = {93--110},
title = {THE ARGENTO SYNDROME: AESTHETICS OF HORROR},
year = {2016}
@article{10.1525/jams.2014.67.3.883,
ISSN = {00030139, 15473848},
URL = {http://www.jstor.org/stable/10.1525/jams.2014.67.3.883},
journal = {Journal of the American Musicological Society},
number = {3},
pages = {883--888},
publisher = {[University of California Press, American Musicological Society]},
title = {Publications Received},
volume = {67},
year = {2014}
@inbook{10.2307/j.ctt2tvn9x.28,
ISBN = {9781617038747},
URL = {http://www.jstor.org/stable/j.ctt2tvn9x.28},
author = {Ryan Gilbey and Quentin Tarantino},
booktitle = {Quentin Tarantino: Interviews, Revised and Updated},
pages = {174--183},
title = {Days of Gloury},
year = {2013}
@inbook{10.1525/j.ctt1pnb5m.56,
ISBN = {9780520241015},
URL = {http://www.jstor.org/stable/10.1525/j.ctt1pnb5m.56},
abstract = {What goeseek, squonk, oing-boing,andwaaah-oooom,and has won two Academy Awards in the
last four years? Clue: It’s neither Jamie Lee Curtis nor R2D2—though the second is closer.Give up? The
answer is synthesizer movie scores, and the Oscar winners for best score were last year’sChariots of Fireby
Vangelis and 1978’sMidnight Expressby Giorgio Moroder. In both, the music was provided not by an
orchestra, but by an electronic instrument long used by rock bands. Electronic scores are still relatively rare
But some critics, weary of classical and jazz-oriented scores, welcome them and predict},
author = {Terry Atkinson},
booktitle = {Celluloid Symphonies: Texts and Contexts in Film Music History},
edition = {1},
pages = {423--429},
title = {Scoring with Synthesizers (1982)},
year = {2011}
@inbook{10.2307/j.ctt6wq3bq.9,
ISBN = {9781557536358},
URL = {http://www.jstor.org/stable/j.ctt6wq3bq.9},
abstract = {Dustin Hoffman almost turned down the role of Thomas Babington, aka “Babe,” Levy, the Jewish
graduate student and long-distance runner in John Schlesinger’s 1976 thriller Marathon Man, because he
objected to the original script’s ending. As the narrative unfolds, Levy unwittingly becomes ensnared in an
international intrigue involving Nazi war criminals and diamonds stolen from Jews imprisoned at Auschwitz,
and, in one memorable scene, Nazi dentist Dr. Christian Szell (villainously played to the hilt by Laurence
Olivier) tortures him by extracting his teeth without anesthesia. The original script had Hofmann’s character
avenging this torture and shooting Szell at the film’s},
author = {Daniel H. Magilow},
booktitle = {Jewish Cultural Aspirations},
pages = {89--110},
publisher = {Purdue University Press},
title = {Jewish Revenge Fantasies in Contemporary Film},
year = {2013}
ISBN = {9780748695454},
abstract = {Many commentaries on the Italian Western have contrasted – implicitly or explicitly – the
‘authentic’ Hollywood Western, as part of a folk culture, with the ‘inauthentic’ Italian Western, as part of an
entrepreneurial culture. The Hollywood Western is the real thing; the Italian product is ersatz: an example of
hybridity, with Hollywood as the original plant. But what of ‘inauthentic’ Italian Westerns, if such they were,
responding to images within Hollywood Westerns which themselves were palpably inauthentic in the first
place? This chapter started life with the thought that images of Irish people in Italian Westerns might be an
example},
author = {Christopher Frayling},
pages = {13--46},
title = {The Quiet Man Gets Noisy: Sergio Leone, the Italian Western and Ireland},
year = {2016}
@inbook{10.3366/j.ctt1g051jk.10,
ISBN = {9781474412667},
URL = {http://www.jstor.org/stable/10.3366/j.ctt1g051jk.10},
abstract = {If it is true to say that the film noir remains one of the most unstable, amorphous and contested of
film genres – with even its status as such, as a distinct generic entity, being called into question by a number
of scholars and critics who would rather categorise it as a style, a historical moment, a cycle, a series, a
mood – then it follows that it should find a responsive home in the quixotic universe of Hong Kong
filmmaking. In a quasi-national cinema more than commensurate to a disparate confluence of genres, the
fluid boundaries of even the},
author = {Adam Bingham},
booktitle = {Hong Kong Neo-Noir},
pages = {77--96},
title = {Doubled Indemnity: Fruit Chan and the Meta-Fictions of Hong Kong Neo-Noir},
year = {2017}
@inbook{10.7312/anno18030.5,
URL = {http://www.jstor.org/stable/10.7312/anno18030.5},
abstract = {In “the unpopular cinema,” Pasolini presents some important elements for understanding his
authorial performance as he was conceiving of it in the late 1960s. This period saw a radical shift in his
intellectual trajectory, marked by his rejection of the poststructuralist “death of the author,” which had
established itself on the critical scene. For Pasolini, the authorial figure, far from dying off, was an antagonist
who would challenge all forms of conformism merely by existing. Also, in the decade preceding Pasolini’s
sudden death, his increasing attention on the authorial figure was directly proportional to the emphasis he
put on the},
author = {Gian Maria Annovi},
booktitle = {Pier Paolo Pasolini: Performing Authorship},
pages = {19--48},
title = {THEATER},
year = {2017}
@inbook{10.2307/j.ctt1gn6btc.20,
ISBN = {9781781381830},
URL = {http://www.jstor.org/stable/j.ctt1gn6btc.20},
abstract = {By looking at the example of Don Coscarelli’s unapologetically silly 2002 film,Bubba Ho-tep, I
want to propose that we consider sf, fantasy, and indeed cult films of all stripes as both literal and figurative
“strange attractors.” Excluding perhaps what J. P. Telotte refers to as “classical” cult films inThe Cult Film
Experience—mainstream Hollywood films such asCasablanca(Michael Curtiz, 1942) that have inspired
fiercely loyal fan followings—cult films typically are works that foreground their thematic, structural, and/or
aesthetic deviation from loosely defined Hollywood norms. Theyliterallyattract due to their strangeness.
Borrowing from chaos theory, however,},
author = {Jeffrey Andrew Weinstock},
booktitle = {Science Fiction Double Feature: The Science Fiction Film as Cult Text},
pages = {233--248},
title = {Bubba Ho-tep and the Seriously Silly Cult Film},

year = {2015}
@inbook{10.3366/j.ctt1n7qhwg.17,
ISBN = {9781474404310},
URL = {http://www.jstor.org/stable/10.3366/j.ctt1n7qhwg.17},
abstract = {She was post-war Italy’s (and Europe’s) first international pin-up: one British headline described
her as ‘the Rage of the Continent’ (Schiff 1950), while in the US she became known as ‘the Atomic Italian’.
Director Giuseppe De Santis characterised her breakout role as ‘the Rita Hayworth of the Italian periphery’
(Gundle 1996: 314), but she has also been described as ‘la Greta Garbo del cinema italiano’ (Cimmino and
Masi 1994: 134), a reference to the enigmatic and distant persona she subsequently adopted. Her career
ranged from neorealism to melodrama to commedia all’Italiana (forming a particularly popular partnership
with Alberto Sordi) to},
booktitle = {Revisiting Star Studies: Cultures, Themes and Methods},
pages = {240--258},
title = {‘UNA DIVA NON COME LE ALTRE’: LE STREGHE AND THE PARADOXICAL STARDOM OF
SILVANA MANGANO},
year = {2017}
@inbook{10.3138/j.ctt2tv5hj.7,
ISBN = {9781442612051},
URL = {http://www.jstor.org/stable/10.3138/j.ctt2tv5hj.7},
abstract = {Widely considered a principle of natural justice, the above axiom sets out a standard designed to
preserve the legitimacy of legal authority in courtroom practice in the Western adversarial process.² Lord
Hewart’s probably familiar phrase posits two central premises. First, it expresses a preoccupation with form
for its own sake – a legal decision’s just appearance is as significant as the justness of its actual content.
The second premise then follows – justice must be witnessed. Lord Hewart’s statement does not require that
justice-makingbe viewablebut demands itactually be viewed. The justness of legal practice is revealed by
having those},
author = {R.J. TOUGAS},
booktitle = {Stages of Reality: Theatricality in Cinema},
pages = {81--101},
publisher = {University of Toronto Press},
title = {‘I’ll Show Them!’ Creating Legal Spectacles in Revenge Cinema},
year = {2012}
@inbook{10.2307/j.ctt9qhd6g.8,
ISBN = {9780708323595},
URL = {http://www.jstor.org/stable/j.ctt9qhd6g.8},
abstract = {Even the makers ofLife on Marsseem to agree that the series’ premise leaves neither characters
nor audience knowing whether Sam Tyler (John Simm) is either hallucinating from his 2006 hospital bed or
has been physically transported back in time to 1973. However, this is a productive uncertainty. Tyler can
know he lived in Manchester 2006, but cannot be certain about anything that has happened since the
accident. The viewer can sift the evidence within the series’ diegesis, and bear witness as Tyler shifts
between alienation from, and immersion in, the world in which he finds himself. This chapter},
author = {Rob Smith},
booktitle = {Life on Mars: From Manchester to New York},
edition = {1},
pages = {43--54},
publisher = {University of Wales Press},
title = {IMMERSION VERSUS ALIENATION: LISTENING TO LIFE ON MARS},
year = {2012}
@inbook{10.3138/j.ctt4cgj4c.5,
ISBN = {9781442644052},
URL = {http://www.jstor.org/stable/10.3138/j.ctt4cgj4c.5},
abstract = {The “I”s of Nanni Moretti’sCaro diario(1994) and Francesca Duranti’sSogni mancini(1996) wander
between places and wonder about their identities. Ultimately, they transport and translate their identities,
since the sense of moral responsibility with which they invest themselves, as individuals in society, is
manifested from a position of constant geographical and ideological displacement. America is central toSogni
mancini, while inCaro diaroit comes in the form of a cultural construct absorbed in the Italian context. In both
cases, it represents one of the two horns of the dilemma: is America to be chosen, or not? And},
author = {BARBARA ALFANO},
booktitle = {The Mirage of America in Contemporary Italian Literature and Film},
pages = {30--57},
title = {Wandering Subjects},
year = {2013}
@article{10.2307/26754261,
ISSN = {00097004, 26419238},
number = {4},
volume = {44},
year = {2019}
@article{10.2979/filmhistory.25.3.174,
ISSN = {08922160, 15533905},
URL = {http://www.jstor.org/stable/10.2979/filmhistory.25.3.174},
journal = {Film History},
number = {3},
pages = {174--175},
title = {Contributors},
volume = {25},
year = {2013}
@article{10.2307/41689226,
ISSN = {00097004},
author = {Irene Bignardi},
number = {2},
pages = {14--22},
title = {The Making of "The Battle of Algiers"},
volume = {25},
year = {2000}
ISSN = {21678464, 19407610},
abstract = {Abstract. By focusing on pantomime and cinema music and on synchronization and timing
practices, this article aims to change the idea that synchronized sound only arrived with the talking film. It
compares the musical synchronization in D. W. Griffith’s The Birth of a Nation with that in the filmed
pantomime Histoire d’un Pierrot, and in an effort to identify other possible models for Griffith’s
synchronization practices, traces the history of pantomime and pantomime ballet music in America from
1891 to 1916. Pavlova’s pantomime ballets and Max Reinhardt’s pantomime Sumurun emerge as potential
models for Griffith and composer Joseph Carl Breil. Cabiria and Rothapfel’s presentation practices are also
considered. To establish why Griffith may have emphasized pantomime in his publicity for The Birth of a
Nation, the similarities in the developmental trajectory for cinema and pantomime are described, establishing
for America what had been established for Europe by Carlo Picardi in “Pierrot at the Cinema.” A number of
examples of stop watches being used to synchronize the music with the picture are documented, and the
synchronization practices of Camille Saint- Saëns, Pietro Mascagni, Henry Gilbert, Louis Silvers, Joseph
Carl Breil, and Mortimer Wilson are described. Finally, it is suggested that nondiegetic music is an
archeological relic of cinema music’s origins in pantomime, where it did and still does have a hailing function,
calling attention to the gestures, actions, facial expressions, and body language of the players and as such
plays a much more important role in a moving picture’s plot development than has heretofore been
acknowledged.},
author = {Gillian B. Anderson},
number = {3},
pages = {3--39},
title = {Synchronized Music: The Influence of Pantomime on Moving Pictures},
volume = {8},
year = {2015}
ISSN = {21678464, 19407610},
abstract = {The conventional cohabitation of cinematic sounds and their implied sources engenders a close
and cooperative partnership between the senses of hearing and sight in the process of experiencing film. In
this article, I explore the effects of film sounds that become separated from their sources. Specifically, I will
argue that audio-visual dislocations create a rift within the intersensory relationship and invoke an anxiety-
driven process aimed at mending the partnership by visually locating the source of the sound.},
author = {Mark Durrand},
number = {2},
pages = {46--61},

title = {Hearing and Seeing with Sergio Leone's Once Upon a Time in the West (1968): Toward Dispelling
Audio-Visual Hierarchy},
volume = {10},
year = {2017}
ISSN = {21678464, 19407610},
author = {Maurizio Corbella},
number = {3},
pages = {14--30},
title = {Notes for a Dramaturgy of Sound in Fellini's Cinema: The Electroacoustic Sound Library of the
1960s},
volume = {4},
year = {2011}
@article{10.2307/24435713,
ISSN = {03940802, 22397205},
abstract = {Giovanni Previtali was born in Florence on 4 March 1934 and died in Rome on 3 February 1988,
in his mid-fifties. A pupil of Roberto Longhi, and known especially for his work on the Italian Trecento,
Previtali attempted to reinvigorate traditional connoisseurship with new methodologies. His scholarly activity
covered a remarkable variety of interests, consistently pursued throughout his career: from the "aree minori"
to the study of artistic literature and the history of criticism, from methodological reflection to cultural politics.
Previtali was an energetic organiser of exhibitions and of cultural and publishing initiatives, and was a
constant — and frequently polemical — presence in the national press. All of his activity is to be interpreted
in the light of the moral and social commitment that he believed was necessary for the art historian. The
volume is divided into three sections: an essay, an apparatus of notes and a fairly full documentary appendix
(divided into correspondence and notes; unpublished articles; publishing projects). The content is based
principally on the documents studied in the Previtali archives (letters, notes, projects, unpublished writings),
and through them the life of the scholar is surveyed. At times reading like a novel, as well as being
indispensible for an understanding of the writer and his work, this book represents a guide to thirty years of
Italian art history. The narrative begins in the mid-1950s with Previtali's arrival at the University of Florence,
where he began studying under Roberto Longhi. Longhi's world is described through the eyes of two of his
students, Previtali and the young writer Fernando Tempesti. From their comments about the latest
exhibitions to see and books to read, and about the political situation of the time (these were the years when
Previtali was highly active in the Radical party), emerges the opposition between the Florentine school of
Longhi and the Roman school of Lionello Venturi, with their different methodologies and different views of
contemporary art. This opposition profoundly affected the subsequent development of art history in Italy.
Having finished his studies, and after a few attempts at finding work, in the early 1960s Previtali spent some
time in Paris where he was in contact with a variety of art historians such as Vitale Bloch, Anthony Blunt,
André Chastel and Michel Laclotte. On his return to Florence he started working for 'Paragone', as the editor
of the periodical and as Longhi's right hand. Two groundbreaking books by Previtali, La fortuna dei primitivi
(1964) and Giotto e la sua bottega (1967), became part of the complex cultural context of the time. He
embarked on an important activity as a promoter of cultural and publishing initiatives, and during the same
period he was politically active in the Italian Communist Party. A stream of articles by him appeared in the
national press. After the terrible destruction caused by the Florence flood of 1966, Previtali took part on
Longhi's side in the heated controversies that saw Longhi pitted against Carlo Ludovico Ragghianti. Previtali
also began a series of territorial studies, in particular on Umbrian sculpture (a constant motif in his work) and
on the art of southern Italy. The death of Roberto Longhi in 1970 was a symbolic turning point that altered
the course of Previtali's life. His break with 'Paragone' created a lasting rift in the school of Longhi, and led to
the foundation a few years later of 'Prospettiva'. This period was marked by the engagée Enciclopedia
Feltrinelli Fischer, a work published in Longhi's name though of avowedly Marxist inspiration, and by
Previtali's growing interest in new methodologies such as Structuralism. His role as a director of Einaudi
corresponded with a renewed interest in the iconology of Panofsky, in the world of the Warburg Institute
(thanks to his relations with Ernst Gombrich) and in the anthropological theories of George Kubler. Already
committed to a heavy workload of teaching in Siena, in the 1970s Previtali edited the Storia dell'arte italiana
for Einaudi, a titanic project that involved him in heated debates, conflicts and animosities. The narrative
comes to an end in the early 1980s, with the conference organised for the tenth anniversary of Longhi's
death. In these years Previtali reflected on the role and the teaching of his master, and in particular he
returned to the eminently Longhian subject of Caravaggio.},
author = {Arturo Galansino},
journal = {Prospettiva},
number = {149/152},
pages = {66--75},
publisher = {Centro Di Della Edifimi SRL},
title = {Oltre la monografia},
year = {2013}
@article{10.2307/43501979,
ISSN = {00097004},
author = {Gary Crowdus and Serge Bourguignon},
number = {1},
pages = {26--32},
title = {Painting Images on Screen: An Interview with Serge Bourguignon},
volume = {40},
year = {2014}
@article{10.2307/41123967,
ISSN = {00274801},
author = {Frédéric Döhl},

number = {3},
pages = {284--285},
publisher = {Bärenreiter},
title = {Berlin, 16. bis 19. Dezember 2001: Tagung „Klang und Bewegung“},
volume = {55},
year = {2002}
@article{10.2307/40427405,
ISSN = {07433204},
author = {Mónica de la Torre},
journal = {BOMB},
number = {98},
pages = {105--105},
title = {On Eroticism and Cutting Fabrie},
year = {2007}
@inbook{10.2307/j.ctv9hj7vv.8,
ISBN = {9781841506258},
URL = {http://www.jstor.org/stable/j.ctv9hj7vv.8},
abstract = {How a film uses music on different levels of narration can be analyzed at different ‘focal lengths’,
from wide-angle views of an entire film to close-ups of musical moments. Music has usually been studied at
close range; this book is no exception and makes most of its points through the discussion of scenes and
shorter excerpts. They may be part of long-range strategies, but these have rarely been considered in the
literature. This chapter uses a wider angle, in case studies ofOnce Upon a Time in America (1984),The
Truman Show (1998), and ofBreakfast at Tiffany’s (1961) and},
author = {Guido Heldt},
booktitle = {Music and Levels of Narration in Film},
pages = {195--242},
publisher = {Intellect},
title = {Beyond the Moment: Long-range Musical Strategies},
year = {2013}
@inbook{10.2307/j.ctt16t8zf9.8,
ISBN = {9780813564272},
URL = {http://www.jstor.org/stable/j.ctt16t8zf9.8},
abstract = {Following a longstanding tradition that privileged dialogue editing and mixing over other sounds in
the picture, the majority of the Hollywood films from the 1960s and 1970s relied on the spoken word as their
primary narrative motor. An overarching drive for narrative comprehension created a tacit agreement
between audiences and filmmakers: everything that the audience is supposed to hear will be heard. As a
result, only narratively significant sounds and music could compete with dialogue, relegating additional sound
effects and ambiences to lower levels of narrative significance. Divisions of labor within both production and
postproduction sound reinforced this hierarchy of},
author = {Jay Beck and Vanessa Theme Ament},
booktitle = {Sound: Dialogue, Music, and Effects},
pages = {107--132},
publisher = {Rutgers University Press},
title = {THE NEW HOLLYWOOD, 1981-1999},
year = {2015}
@inbook{10.2307/j.ctt1zxxzgx.6,
ISBN = {9780253026453},
URL = {http://www.jstor.org/stable/j.ctt1zxxzgx.6},
abstract = {The period 1965–66 was a decisive one for the development of psychedelia. In musical terms, by
the end of 1965 the Yardbirds had begun to explore most of the components that would be essential to their
later, more obviously psychedelic work. The Beatles had releasedRubber Soul, the Kinks had released “See
My Friends,” and a great deal of sonic experimentation had taken place in genres such as instrumental surf
rock. During 1966 the psychedelic implications of such material became fully explicit and much more widely
distributed. Some key events include early releases by the 13th Floor Elevators, the},
author = {WILLIAM ECHARD},
booktitle = {Psychedelic Popular Music: A History through Musical Topic Theory},
pages = {29--103},
title = {Developments through 1966},
year = {2017}
ISBN = {9780748695454},
abstract = {The above song lyrics, from the oft-quoted Hindi film song ‘Mera Joota Hai Japani’, were first
heard in the Raj Kapoor classic Shree 420 (Mr 420, 1955). At that historical juncture, eight years after India
became a sovereign nation, the song was celebrated as a patriotic ode to India’s national and cultural
identity; an anthem of ‘national belonging in a globalising world’ (Varma 2004: 71). In subsequent years, the
song has taken on a life of its own, being used in a wide variety of cultural contexts – from providing the title
of the Shah Rukh Khan film Phir Bhi},
author = {Iain Robert Smith},

pages = {185--210},
title = {Cowboys and Indians: Transnational Borrowings in the Indian Masala Western},
year = {2016}
@inbook{10.5406/j.ctt1xchmg.17,
ISBN = {9780252036736},
URL = {http://www.jstor.org/stable/10.5406/j.ctt1xchmg.17},
abstract = {It may seem odd to associate “maturity” with the music of Henry Mancini in the second half of the
1970s when clearly all of his most influential work was already past, having been produced between, say,
1958 and 1969. Maturity in this case does not mean a permanent evolution away from jazzpop and toward
exclusively large-scale formal symphonic scoring, although there would be more of that. Maturity now means
that Mancini had learned to deal with all kinds of music: to be able to write, in the same year as those
resolute songs for10,an anti-thematic orchestral score for},
author = {John Caps},
booktitle = {Henry Mancini: Reinventing Film Music},
pages = {181--192},
title = {Maturity, the Second Cadence},
year = {2012}
@inbook{10.3366/j.ctv7n0b3s.8,
ISBN = {9781474425261},
URL = {http://www.jstor.org/stable/10.3366/j.ctv7n0b3s.8},
abstract = {Presenting the 2010 Academy Award for Best Director, actress and filmmaker Barbra Streisand
announced to the audience at the Kodak Theater: ‘From among the five gifted nominees tonight, the winner
could be, for the first time, a woman’. She checked the name in the envelope and, after a dramatic pause,
she declared Kathryn Bigelow the winner. Although her gender was clearly underscored in this short but
powerful statement, Bigelow herself made no reference to it in her acceptance speech. Instead, she praised
her fellow nominees and emphasised the collaborative nature of her achievement, thanking the cast and
crew who helped},
author = {Katarzyna Paszkiewicz},
booktitle = {Genre, ship and Contemporary Women Filmmakers},
pages = {100--133},
title = {HOLLYWOOD TRANSVESTITE: KATHRYN BIGELOW’S THE HURT LOCKER},
year = {2018}
@inbook{10.2307/j.ctt9qds7n.10,
URL = {http://www.jstor.org/stable/j.ctt9qds7n.10},
abstract = {With the institution of a multitude of new memorial days, including the Giorno della memoria and
the Giorno del ricordo, and the planning and establishment of a large number of new memorials, the memory
industry in Italy is booming. As the historian Giovanni de Luna writes in his portrait of Italy as a “republic of
pain,” the commemorative calendar is growing more crowded by the day, almost. Since 2000, countless laws
have been passed instituting days of memory for the victims of the Holocaust, the foibe, and terrorism, for
military and civilian personnel killed on international peacekeeping missions, for sailors},
author = {Susanne C. Knittel},
booktitle = {The Historical Uncanny: Disability, Ethnicity, and the Politics of Holocaust Memory},
pages = {217--249},
publisher = {Fordham University Press},
title = {A Severed Branch: The Memory of Fascism on Stage and Screen},
year = {2015}
@inbook{10.7722/j.ctt14brr1x.27,
ISBN = {9781843831594},
URL = {http://www.jstor.org/stable/10.7722/j.ctt14brr1x.27},
abstract = {According to Mary Alwyn,¹ William was particularly satisfied with the scores ofOdd Man Out,The
Rocking Horse Winner, andThe Ship that Died of Shame. for Dearden’sThe Ship that Died of Shame,
Alwyn’s proportioned and complex score in 1955 is in contrast to his spare contribution to the same
director’sThe Rainbow Jacketthe previous year. The heroine of this excursion into the paranormal is motor
gunboat number 1087, with a noble wartime history and commanded by Bill randle (George Baker), whose
young wife helen (Virginia Mckenna) is killed in an air raid. With the war finished, he},
author = {Ian Johnson},
booktitle = {William Alwyn: The Art of Film Music},
pages = {261--265},
title = {Music and the Spoken Word},
year = {2005}
@inbook{10.2307/j.ctt2jcscv.12,
ISBN = {9780813136110},
URL = {http://www.jstor.org/stable/j.ctt2jcscv.12},
abstract = {The November 29, 1982, issue ofDaily Varietyfeatured a headline that almost seemed to be déjà
vu from the 1950s: “3-D Pic Prod’n Boom Underway.”Friday the 13th Part IIIfrom Paramount Pictures, as the
first Hollywood studio 3-D film release of the 1980s, had racked up big box office numbers in August, and
hopes were high for stereoscopic cinema. “More than 60 film projects contemplating 3-D lensing have been
publicly announced since the current trend-setter,Comin At Ya,wrapped late in 1980,” wrote Lawrence Cohn,
“and this initial burst of enthusiasm is currently being translated into actual results.”},
author = {Ray Zone},
booktitle = {3-D Revolution: The History of Modern Stereoscopic Cinema},
pages = {111--123},
publisher = {University Press of Kentucky},
title = {1980s 3-D Films},
year = {2012}
@inbook{10.2307/j.ctt130jt26.13,
ISBN = {9781628461947},
URL = {http://www.jstor.org/stable/j.ctt130jt26.13},
abstract = {In 1969 Miles Davis owed Columbia Records a whole lot of money. His lifestyle, with its Ferraris,
Manhattan brownstones, and fast women was not a pennywise one, and all-time-low record sales were not
the best means of support. So the ever-profligate Miles had to resort to loans, advances against royalties,
and some crafty moves in order to take care of himself. On October 23, 1969, Teo Macero sent a memo to
Clive Davis in regard to Miles’s financial predicament: “I mentioned to Miles that he is presently in the hole
for $90,000 in paid advances and an outstanding loan of},
author = {Victor Svorinich},
booktitle = {Listen to This: Miles Davis andBitches Brew},
pages = {135--160},
title = {Beyond Brew},
year = {2015}
ISBN = {9786074624700},
abstract = {Una de las charlas de sobremesa predilectas de Sergio Leone giraba en torno a las típicas
circunstancias de producción con las cuales solían rodarse las películas del Oeste italianas de bajo
presupuesto en italia y españa durante los gloriosos años sesenta. Después del arrollador éxito taquillero
dePer un pugno di dollarien Italia, en 1964, Leone solía decir: “había una tremenda fiebre del oro, pero la
búsqueda se realizaba más en la arena que en la roca”.¹Había una película que estaba siendo financiada
semana por semana. A los inversionistas se les mostraban losrushesde la primera semana},
author = {CHRISTOPHER FRAYLING},
pages = {86--121},
title = {CINE POPULAR, POLÍTICA Y EL GÉNERO WESTERN: EL CASO DE LA REVOLUCIÓN

MEXICANA},
year = {2013}
@inbook{10.7312/patt567426.13,
URL = {http://www.jstor.org/stable/10.7312/patt567426.13},
abstract = {Terrence Malick’sDays of Heaven(1978) is perhaps best known for Nestor Almendros and
Haskell Wexler’s cinematography, and for Malick’s use of visual images to amplify his themes and narratives.
The film earned Almendros an Academy Award, andVisions of Light(1992), a documentary on the art of
cinematography, devoted an entire section to it, drawing attention to its location photography and use of the
‘magic hour’. Almendros is interviewed in the documentary and, while discussing his experience of
filmingDays of Heaven, states that Malicktold me it would be a very visual movie. He said that the film},
author = {Richard Power},
booktitle = {The Cinema of Terrence Malick: Poetic Visions of America},
edition = {2},
pages = {103--111},
title = {Listening to the Aquarium: The Symbolic Use of Music in Days of Heaven},
year = {2007}
@inbook{10.2307/j.ctv138427d.7,
ISBN = {9781906733773},
URL = {http://www.jstor.org/stable/j.ctv138427d.7},
abstract = {The eyes, as Cicero famously intimated, are the window to the soul. The appearance and also
the covering up or absence of eyes formed an important part of John Carpenter’s toolkit when making The
Thing. New eyes frequently emerge out of the morass of convulsing Thing tissue, eyes that dart and probe
the world that they have just been born into. They aren’t looking to make eye contact, their purpose is more
associated with seeking out an escape route. But if one’s eyes should meet those of a Thing across a
crowded room the ‘soul’ that they frame might just},
author = {Jez Conolly},
booktitle = {The Thing},
pages = {45--60},
title = {‘What the hell are you looking at me like that for?’},
year = {2013}
@article{10.2307/3878635,
ISSN = {00402982, 14782286},
journal = {Tempo},
number = {229},
pages = {85--88},

title = {News Section},
volume = {58},
year = {2004}
@article{10.2307/855024,
ISSN = {00274224, 14774631},
journal = {Music & Letters},
number = {4},
pages = {673--674},
publisher = {Oxford University Press},
title = {Books Received},
volume = {80},
year = {1999}
@article{10.2307/41125966,
ISSN = {00274801},
number = {2},
pages = {203--206},
title = {Eingegangene Schriften},
volume = {59},
year = {2006}
@article{10.2307/931058,
ISSN = {00039292},
number = {4},
pages = {352--353},
title = {Eingegangene Bücher},
volume = {56},
year = {1999}
ISSN = {21678464, 19407610},
abstract = {Abstract. Stereotypes and conventions of film music have historically been understood by
musicology as evidence of bad artistic practice (think for example of the influential Adorno-Eisler paradigm).
But the great repository of musical conventions of the mainstream narratives—a consequence of production
practices, true idiomatic competence of the film-music composer—can be scrutinized from the
methodological perspective of oral-tradition studies, and understood as a formulaic system.},
author = {Ilario Meandri Sanchez},
number = {2},
pages = {34--75},
title = {Around the Marvelous: Film Music Formulas from an Ethnomusicological Perspective},
volume = {7},
year = {2014}
@article{10.2307/41690253,
ISSN = {00097004},
author = {Gary Crowdus and Saadi Yacef},
number = {3},
pages = {30--37},
title = {Terrorism and Torture in The Battle of Algiers: An Interview with Saadi Yacef},
volume = {29},
year = {2004}
@article{10.2307/24595505,
ISSN = {00016241},
author = {Angela Ida De Benedictis},
journal = {Acta Musicologica},
number = {2},
pages = {227--243},
publisher = {International Musicological Society},
title = {Oltre il Primo Congresso di Dodecafonia. Da Locarno a Darmstadt},
volume = {85},
year = {2013}
@article{10.2307/41408163,
ISSN = {07919417},
abstract = {The essay explores the appeal of both the Antigone myth and of Sophocles ' eponimous play in
Italy from 1500 to present.This study surveys the recurrence to Antigone in the work of poets and dramaturgs
across the centuries while reflecting on the fortunes and misfortunes of this ancient story from Ariosto's
theatrical experimentation to Pasolini's unfinished text, from tales of cultural dissent, to Italian mafia and
metaphors of the starved body.},
author = {Loredana Salis},
journal = {Classics Ireland},
pages = {85--102},
publisher = {Classical Association of Ireland},
title = {Italian Antigones: Fortunes and Misfortunes of the Antigone Myth in Italy (1515-2006)},
volume = {17},
year = {2010}
@article{10.2307/23204224,
ISSN = {03944115, 19732244},
author = {Italo Moscati},
journal = {Meridiana},
number = {58},
pages = {237--244},
publisher = {Viella SRL},
title = {Chiedi alla valigia... Romanzi, film, Eduardo, Totò, l'emigrazione, e un caso non troppo personale},
year = {2007}
@article{10.2307/24467194,
ISSN = {00039292},
abstract = {A recurring criticism leveled at André Previn's opera scores is that they sound like film music.
This article deals with his second opera Brief Encounter (2009), an adaptation of the same-titled movie by
director David Lean (1945). It is argued that the most notable stylistic device used by Lean was the visual
close-up, which of course cannot be emulated on an operatic stage. Previn's transformation comes by
placing the function of the visual close-up in the musical realm, by having the score work like film music
instead of merely sounding like film music. The difference is in music's relationship to the non-musical
medium of the image.},
author = {FRÉDÉRIC DÖHL},
number = {4},
pages = {311--332},
title = {Brief Encounter: Zu David Leans Film (1945) und André Previns Oper (2009)},
volume = {70},
year = {2013}
@article{10.2307/41690584,
ISSN = {00097004},
author = {Paul Arthur},
number = {1},
pages = {14--17},
title = {Adam Curtis's Nightmare Factory: A British Documentarian Declares War on the "War on Terror"},
volume = {33},
year = {2007}
@article{10.2307/44711842,
ISSN = {07396570},
author = {Edward Quinn},
journal = {Shakespeare on Film Newsletter},
number = {2},
pages = {1--12},
publisher = {The Johns Hopkins University Press},
title = {ZEFFIRELLI'S "HAMLET"},

volume = {15},
year = {1991}
@inbook{10.3366/j.ctt14brz5w.8,
ISBN = {9780748654543},
URL = {http://www.jstor.org/stable/10.3366/j.ctt14brz5w.8},
abstract = {Investigation of a Citizen Above Suspicion (Indagine su un cittadino al di sopra di ogni sospetto:
1970) follows a police detective who, after killing a woman named Augusta during sexual intercourse, leaves
a number of clues that may lead to his being identified. The detective – the character who should be mentally
lucid, restore order and be on the side of the law – is a psychopath, who uses his power to pervert the
course of justice and re-assert his position of authority in the face of evidence that proves his culpability. As a
representative of the authoritarian state, the},
author = {Sergio Rigoletto},
booktitle = {Masculinity and Italian Cinema: Sexual Politics, Social Conflict and Male Crisis in the 1970s},
pages = {71--100},
title = {UNDOING GENRE, UNDOING MASCULINITY},
year = {2014}
@inbook{10.2307/j.ctt9qcs39.14,
ISBN = {9781845450984},
URL = {http://www.jstor.org/stable/j.ctt9qcs39.14},
abstract = {Although about a third of all music heard by the average Westerner comes through television, TV
music has been virtually neglected as an area of serious inquiry. Since the logistics of TV production tend to
demand that music for the medium be (1) cheap and quick to produce or acquire, and (2) efficient and
unequivocal in communicating the intended mood and connotations, television constitutes a highly suitable
area for the study of musical “meaning” in everyday life. TV music affects its listeners in several ways, one
being the nonverbal, nonvisual formation of attitudes, emotional and ideological, toward particular types of},
author = {Philip Tagg},
booktitle = {Music and Manipulation: On the Social Uses and Social Control of Music},
edition = {1},
pages = {163--186},
title = {Music, Moving Images, Semiotics, and the Democratic Right to Know},
year = {2006}
@inbook{10.1525/j.ctv1xxtdj.4,
ISBN = {9780520260375},
URL = {http://www.jstor.org/stable/10.1525/j.ctv1xxtdj.4},
abstract = {Charles Mingus was born in 1922, the same year that James Joyce’sUlyssesand T. S. Eliot’s
“The Wasteland” appeared in print. On the basis of those two literary behemoths alone, Kevin Jackson has
written an entire book about 1922, which he calls “Modernism Year One.”¹ Joyce and Eliot displayed so
much erudition that even serious graduate students in English departments have failed to master their works.
But without question, Joyce transformed the novel just as Eliot remade lyric poetry. In the same year,
another modernist icon, Franz Kafka, published “The Hunger Artist,” the allegorical tale of a circus
performer},
author = {KRIN GABBARD},
booktitle = {Better Git It in Your Soul: An Interpretive Biography of Charles Mingus},
edition = {1},
pages = {11--112},
title = {A Circus in a Bathtub},
year = {2016}
@inbook{10.2307/j.ctt1c3spmz.8,
ISBN = {9789586653541},
URL = {http://www.jstor.org/stable/j.ctt1c3spmz.8},
abstract = {(Cali, 29 de septiembre de 1951-cali, 4 de marzo de 1977). A pesar de su prematura muerte, su

obra es considerada como una de las más originales de la literatura colombiana. Se trata de un escritor
precoz que desde que descubrió su vocación por la literatura no quiso perder ni un minuto de su vida, hasta
el punto de convertir la construcción de su obra en una obsesión. A pesar de su fama en colombia, caicedo
hasta hace poco era casi un desconocido en América Latina. Sin embargo, la permanente publicación de su
producción literaria y la influencia que tiene},
author = {Sandro Romero Rey},
booktitle = {Memorias de una cinefilia},
edition = {1},
pages = {193--264},
publisher = {Siglo del Hombre Editores S.A.},
title = {PERSONAJES, BIBLIOGRAFÍA Y VIDEOFILMOGRAFÍA},
year = {2015}
@inbook{10.2307/j.ctt16r0h3f.8,
ISBN = {9780253015501},
URL = {http://www.jstor.org/stable/j.ctt16r0h3f.8},
abstract = {THROUGH HIS PROLIX CREATIVITY, HIS LEADERSHIP AND management skills, and a
seemingly tireless dedication to his cause, saxophonist John Zorn played as decisive a role in shaping the
RJC moment as he has on the downtown scene as a whole. In addition to commissioning a great deal of
new work on the Tzadik label, Zorn, with his particular gift for composing music that challenged notions of
tradition and genre, pushed RJC into compelling creative territory. From his work inKristallnacht(1992), which
engaged viscerally with themes of destruction and survival in Jewish history, through the Masada project
(1993–present), which},
author = {TAMAR BARZEL},
booktitle = {New York Noise: Radical Jewish Music and the Downtown Scene},
pages = {86--144},
title = {From the Inexorable to the Ineffable: John Zorn’s Kristallnacht and the Masada Project},
year = {2015}
@inbook{10.1525/j.ctt1pnj97.10,
ISBN = {9780520269002},
URL = {http://www.jstor.org/stable/10.1525/j.ctt1pnj97.10},
abstract = {UNSPEAKABLE COZINESS OF BEING LED BY CHICO: INTERPELLATION Why make such a
big deal out of the Jewish penis? That’s a question I’ll answer later. Meanwhile, this chapter will avail itself of
several theoretical allusions, but don’t be alarmed. We’re going west; we’re fleeing ratiocination and, while
we’re at it, extermination; we’re in the middle of Harpo’s film career; the films, though more elaborate, permit
Harpo fewer innovative lunacies. Nonetheless, every Harpo gesture is sacred and equal: each bears witness
to his actuality, even if theactualseems to take a backseat, in this book, to theimagined. We could},
author = {WAYNE KOESTENBAUM},
booktitle = {The Anatomy of Harpo Marx},
edition = {1},
pages = {141--163},
title = {Freeze Rusty’s Anal Rage in a Cozy Void: GO WEST (1940)},
year = {2012}
@inbook{10.2307/j.ctt9qhmkg.17,
ISBN = {9781628461091},
URL = {http://www.jstor.org/stable/j.ctt9qhmkg.17},
abstract = {Kenneth Turan: We’re at the Walker Art Center for a Regis Dialogue with filmmaker Alexander
Payne. We’re going to be discussing his artistic vision, his sense of humor, and his love of film. Alexander
Payne’s films, characterized by his ability to bring emotional reality to drop-dead funny comedies, manage to
be achingly true to life while dealing with seriously out-of-control situations. Even the setting of most of them,
Payne’s quintessentially all-American home town of Omaha, Nebraska, emphasizes the notion that these
people could well be anyone’s friends and neighbors, maybe even yours.Well, I wanted to start at the
beginning;},
author = {Kenneth Turan and Alexander Payne},
booktitle = {Alexander Payne: Interviews},
pages = {90--114},
title = {Alexander Payne: Sideways Glance at America},
year = {2014}
@inbook{10.2307/j.ctt9qf65g.7,
ISBN = {9780262019156},
URL = {http://www.jstor.org/stable/j.ctt9qf65g.7},
abstract = {On January 19, 2009, the cartoonist Garry Trudeau inaugurated a week-long foray into the world
of ringtones. In a series ofDoonesburystrips depicting a radio interview between a central character, the NPR
DJ Mark Slackmeyer, and a minor character, the genre-switching rock star Jimmy Thudpucker, now working
as a self-described “ringtone artist,” Trudeau treats the scene as a pretext for humorous commentary on the
ringtone phenomenon. As might be expected, the familiar marketing discourse of ringtones acting as a
means of personalization looms large, with ringtones being “about self-expression.” According to Jimmy,
jerks are known to download Kanye West},
author = {Sumanth Gopinath},
booktitle = {The Ringtone Dialectic: Economy and Cultural Form},
pages = {57--80},
publisher = {The MIT Press},
title = {Ringtones and the Deskilling of Mobile-Musical Labor: A Preliminary Investigation},
year = {2013}
@inbook{10.5149/9781469630595_jarrett.10,
URL = {http://www.jstor.org/stable/10.5149/9781469630595_jarrett.10},
abstract = {Beginning in the 1950s, the widespread use of magnetic tape meant that record production no
longer had to be concentrated exclusively in the phases of preproduction (A & R) and production (recording).
What happened after basic tracks were committed to tape—postproduction (editing, mixing, and mastering)
—could define an album. That’s why rock musicians, in particular, began to rely on independently owned and
operated recording studios. They afforded almost limitless control and freedom. You could do what you
wanted, play what you wanted, and take as much time as you wanted (or could afford). Think about Brian
Wilson’s work on The},
author = {MICHAEL JARRETT},
booktitle = {Pressed for All Time: Producing the Great Jazz Albums from Louis Armstrong and Billie Holiday
to Miles Davis and Diana Krall},
pages = {226--282},
publisher = {University of North Carolina Press},
title = {RECORDING TO HARD DRIVE: Producing Digitally, 1991–2013},
year = {2016}
@inbook{10.3138/j.ctt4cgj4c.9,
ISBN = {9781442644052},
URL = {http://www.jstor.org/stable/10.3138/j.ctt4cgj4c.9},
abstract = {The history of the Italian migration to the United States has received renewed and particular
attention in some Italian artistic productions of the past ten years. The novel and the two films that I take
under consideration in this chapter stage that history as the main character, which produces the elements of
the fiction, not just the backdrop of the story. I focus on Melania Mazzucco’s novelVita(2003), on Nanni
Moretti’s documentaryThe Last Customer(2002), and on Emanuele Crialese’s filmNuovomondo(2006).
These three artistic productions are rooted in a narrative space where the stories of the individuals},
author = {BARBARA ALFANO},
booktitle = {The Mirage of America in Contemporary Italian Literature and Film},
pages = {133--153},
title = {Historicizing the Dream: A Documented Eye on America},
year = {2013}
@inbook{10.2307/j.ctv1168j7c.11,
ISBN = {9783406583865},
URL = {http://www.jstor.org/stable/j.ctv1168j7c.11},
abstract = {Was empfinden Europäer, wenn sie den Klang eines Didgeridoos hören? Denkt ein Ureinwohner
Australiens beim Klang von Mozarts Requiem an das Jüngste Gericht? Können Amerikaner ohne vorherige
Erläuterungen die Inhalte einer Peking-Oper verstehen?Der Geschichte lässt sich keine klare Definition des
Begriffs der «Universalsprache» entnehmen. Der Mathematiker Gottfried Wilhelm Leibniz (1646–1716)
bezeichnet Universalsprache (characteristica universalis) als ein System von Zeichen, mit dessen Hilfe alle
Objekte und ihre Beziehungen, Axiome, Postulate und Gesetze abgebildet werden können. Die
mathematische Logik, durch das Axiomensystem des deutschen Mathematikers David Hilbert (1862–1943)
fundiert, kann als Realisierung des von Leibniz definierten universellen Zeichensystems verstanden},
booktitle = {Die 101 wichtigsten Fragen: Klassische Musik},
edition = {2},
pages = {131--146},
publisher = {Verlag C.H.Beck},
title = {Über Musik hinaus},
year = {2009}
@article{10.2307/24435796,
ISSN = {03940802, 22397205},
number = {149/152},
pages = {349--362},
title = {Indice dei nomi},
year = {2013}
@article{10.2307/41689864,
ISSN = {00097004},
number = {3},
volume = {30},
year = {2005}
@article{10.2307/41689996,
ISSN = {00097004},
number = {3},
volume = {31},
year = {2006}
@article{10.2307/24761722,
ISSN = {00274801},
number = {4},
volume = {66},
year = {2013}
@article{10.2307/41689961,
ISSN = {00097004},
number = {2},
volume = {31},
year = {2006}
@article{10.2307/41690904,
ISSN = {00097004},
number = {3},
volume = {35},
year = {2010}
ISSN = {21678464, 19407610},
author = {Lisa Coulthard},
number = {2},
pages = {1--6},
title = {Torture Tunes: Tarantino, Popular Music, and New Hollywood Ultraviolence},
volume = {2},
year = {2009}
@article{10.2307/43797266,
ISSN = {00904260},
author = {Gulsen Sayin Teker},
journal = {Literature/Film Quarterly},
number = {2},
pages = {113--119},
publisher = {Salisbury University},
title = {Empowered by Madness: Ophelia in the Films of Kozintsev, Zeffirelli, and Branagh},
volume = {34},
year = {2006}
@article{10.2307/23389321,
ISSN = {10962492},
author = {Frank T and El Chojín and Stuart Green},
journal = {Arizona Journal of Hispanic Cultural Studies},
pages = {165--186},
publisher = {Arizona Journal of Hispanic Cultural Studies},
title = {Entrevista: ¿Cómo puedes ser tan negro? Rap y racismo en España. Entrevistas con Frank T y El
Chojín},
volume = {15},
year = {2011}
@article{10.2307/26202968,
ISSN = {11203579, 22409653},
abstract = {This is an exhaustive architecturtal and structural profile about building story of the domus: the
preexisting testimonies of sacred character of arcaic-classical period, then ellenistic and imperial period,
finally the last phases after earthquake, between 62 and 79 AD. In following chronological moments are
unterlined the most qualifying aspects in different periods of execution: the preexisting sacred area; the
protocasa rising, based on a probable ellenistic temenos; possible inspiring models of reference; the
following loss of functionality; the sanctuary area monumentalization; amìplificationand fusion with the
adjoining house n.22; the importance of productive and commercial structures in the abode spaces
distribution; the armonizing decorative testimonies from II century before Christ to last restoration after
earthquake.},
author = {ALESSANDRO GALLO},
journal = {Rivista di Studi Pompeiani},
pages = {9--40},
title = {Il progetto architettonico-strutturale della Casa di M. Epidio Sabino a Pompei (IX 1, 22-29) Una lettura
diacronica in chiave politico-sociale},
volume = {25},
year = {2014}
@article{10.2307/24320873,
ISSN = {00356867, 20365586},
author = {Sergio Miceli},
number = {2},
pages = {517--544},
title = {ANALIZZARE LA MUSICA PER FILM: Una riproposta della teoria dei livelli},
volume = {29},
year = {1994}
@article{10.2307/41553479,
ISSN = {03067661, 15597989},
author = {Peter Whitehead},
journal = {Framework: The Journal of Cinema and Media},
number = {1},
pages = {224--241},
publisher = {Wayne State University Press},
title = {"Films and Filming" Reviews, 1966-1969},
volume = {52},
year = {2011}
@article{10.2307/41690169,
ISSN = {00097004},
author = {Cynthia Lucia},
number = {3},
pages = {49--51},
title = {The Istanbul International Film Festival},
volume = {27},
year = {2002}
@article{10.2307/43919227,
ISSN = {0392095X},
journal = {Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia},
number = {1},
pages = {399--444},
publisher = {Scuola Normale Superiore},
title = {Bibliografia},
volume = {6},
year = {2014}
@inbook{10.3366/j.ctt3fgswj.11,
ISBN = {9780748668649},
URL = {http://www.jstor.org/stable/10.3366/j.ctt3fgswj.11},
abstract = {Quentin Tarantino’s foray into the war film takes its cue from Enzo Castellari’s Inglorious
Bastards (1977) but it is hardly a straightforward remake of 1970s ‘macaroni combat’. True to Tarantino’s
highly allusive style, the film’s intertextual archive is much larger and, as the misspellings in his title indicate,
much more self-consciously playful. One would not enlist Basterds among the earnest hyper-realist war films
and TV-series that, beginning with Spielberg’s Saving Private Ryan, have re-introduced audiences to the
heroic protagonist and the good fight. As we have seen in the last chapter, these productions often boast
historical consultants and original location},
author = {Petra Rau},
booktitle = {Our Nazis: Representations of Fascism in Contemporary Literature and Film},
pages = {158--189},

title = {‘Operation Kino’: Quentin Tarantino’s Inglourious Basterds as Meta-cinematic Farce},
year = {2013}
@inbook{10.2307/j.ctt18mvm2p.5,
ISBN = {9780719081484},
URL = {http://www.jstor.org/stable/j.ctt18mvm2p.5},
abstract = {What is sound? Sound exists in waves, consisting of vibrating molecules. It is literally invisible,
and when it arrives in the forum of human perception –hearing– it can seem elusive by comparison with
other senses such as vision, touch or taste. Yet the perception and impact of sound can have a profound
effect. The power of sound in relation to emotion, memory and imagination can be immense and sometimes
startling. Contrary to expectations, music or a particular voice or auditory ambience can conjure up a
memory or feeling more profoundly than a snapshot image of – or object},
author = {Richard J. Hand},
booktitle = {Listen in terror: British horror radio from the advent of broadcasting to the digital age},
pages = {8--49},
title = {Are you sitting (un)comfortably?: Sound, horror and radio},
year = {2014}
@inbook{10.2307/j.ctt1npt7w.19,
ISBN = {9780300112306},
URL = {http://www.jstor.org/stable/j.ctt1npt7w.19},
abstract = {In this final chapter jazz is the dominant theme. Jazz, though a highly absorbent form open to
outside influences including that of classical music and its players, was, in itself, an irresistible influence. The
central discussion of the chapter concerns jazz trumpet players, the integration of their music with audiences,
their influence on the way the trumpet is understood and, finally, their impact on the way that the sound and
image of the trumpet and the personalities who have been most strongly associated with it, have been
projected since the start of the twentieth century.The favoured instrument of jazz},
author = {John Wallace and Alexander McGrattan},
booktitle = {The Trumpet},
pages = {266--282},
publisher = {Yale University Press},
title = {Jazz and the image of the trumpet since 1900},
year = {2011}
@inbook{10.7312/kerc17208.5,
URL = {http://www.jstor.org/stable/10.7312/kerc17208.5},
abstract = {Much has been written about the impact of Hollywood classics on Pedro Almodóvar’s corpus of
works.¹ Almodóvar himself has responded to interview questions citing admiration for specific examples of
‘Golden Age’ Hollywood, to the extent that even he discusses choosing an aesthetic, ‘la
máshollywoodiensede todas’ (‘the most Hollywood-like of all’), forTacones Tejanos(High Heels, 1991)
(Strauss 1995: 131). An extensive interview by Lynn Hirschberg in theNew York Times Magazine, which
appeared before the screening ofLa Mala educación(Bad Education) at the New York Film Festival,
exemplifies the placing of Almodóvar in world film history. Hitchcock},
author = {Dona M. Kercher},
booktitle = {Latin Hitchcock: How Almodóvar, Amenábar, De la Iglesia, Del Toro and Campanella Became
Notorious},
pages = {63--132},
title = {Pedro Almodóvar’s Criminal Side: Plot, Humour and Cinematic Style},
year = {2015}
@inbook{10.2307/j.ctt5vkm5n.9,
ISBN = {9781617039621},
URL = {http://www.jstor.org/stable/j.ctt5vkm5n.9},
abstract = {Psycho(1960) has often been identified as the first modern horror film, yet, for Mark Jancovich, it
can also be “seen as the culmination of a whole series of tendencies within the [horror] genre that had been
developing for over fifteen years” (4). The film, then, would simultaneously look back on, and ahead at, the
history of the horror genre. With the possible exception ofThe Hills Have Eyes(1977), the 1970s films under
study are considered to be landmarks of the genre. Several critics have examined the wayNight of the Living
Dead(1968),The Texas Chain Saw Massacre(1974),},
booktitle = {Making and Remaking Horror in the 1970s and 2000s: Why Don’t They Do It Like They Used
To?},
pages = {119--153},
title = {(RE)SITUATING AND (RE)PLAYING THE GENRE},
year = {2014}
ISBN = {9780816656073},
abstract = {A man named Flitcraft had left his real-estate office, in Tacoma, to go to luncheon one day and
had never returned... here’s what happened to him. Going to lunch he passed an office building that was
being put up - just the skeleton. A beam or something fell eight or ten stories down and smacked the
sidewalk alongside him. It brushed pretty close to him, but didn’t touch him, though a piece of the sidewalk
was chipped off and flew up and hit his cheek. It only took a piece of skin off, but he still had the scar when},

pages = {3--34},
title = {AN INTRODUCTION TO THE DARK DREAMS OF DARIO ARGENTO},
year = {2010}
@inbook{10.3138/9781442698093.11,
ISBN = {9781442643888},
URL = {http://www.jstor.org/stable/10.3138/9781442698093.11},
abstract = {Master of a style that has been aptly called an ʹart of darkness,ʹ¹ director Dario Argento
systematically erodes both the procedural logic of Enlightenment criminology and, more deliberately, popular
perceptions of Lombrosian criminal science, creating a cinema that uses the science of crime to focus
attention on the provocative aesthetic mysteries of the screen. Although the protagonists of his films often
mis-negotiate risk, putting themselves recklessly in the path of psychotic killers, Argento navigates the
professionally dangerous waters of genre cinema with elegance and intelligence.² In spite of tepid critical
reception over the years, and with a defiant adherence to},
author = {ELENA PAST},
booktitle = {Methods of Murder: Beccarian Introspection and Lombrosian Vivisection in Italian Crime Fiction},
pages = {207--237},
title = {Dario Argentoʹs Aesthetics of Violence},
year = {2012}
@inbook{10.7312/rayn16728.5,
URL = {http://www.jstor.org/stable/10.7312/rayn16728.5},
author = {Jonathan Rayner},
booktitle = {The Cinema of Michael Mann: Vice and Vindication},
pages = {23--61},
title = {Mann’s Style: The Jericho Mile, L.A. Takedown, Miami Vice},
year = {2013}
@inbook{10.1525/j.ctt1pn67s.7,
ISBN = {9780520273504},
URL = {http://www.jstor.org/stable/10.1525/j.ctt1pn67s.7},
author = {JULIE MONROE and GABRIELLA OLDHAM},
booktitle = {First Cut 2: More Conversations with Film Editors},
edition = {1},
pages = {64--83},
title = {Cutting from the Gut},
year = {2012}
ISBN = {9786074624700},
abstract = {El 2 de diciembre de 1966 se estrenó en Italia unwesterncon un título en español:Quien sabe?,
dirigido por damiano damiani, conocido como autor de películas de tipo intelectual.¹ Estas circunstancias
sugerían que se trataba de un filme bastante distinto de los más de cienwesternsque habían salido desde
1964, cuando el gran éxito dePer un pugno di dollari de“Bob robertson” (Sergio leone) había confirmado que
se podían hacer westerns en europa.² dos de las estrellas de estos filmes—con las cuales los jóvenes
espectadores ya estaban familiarizados y las que ellos estaban moldeando con},
author = {RAFFAELE MORO},
pages = {123--175},
title = {DE LA SIERRA MAESTRA A LA SIERRA MADRE: LA AVENTURA DE LA REVOLUCIÓN Y EL

“LARGO 68” ITALIANO},
year = {2013}
@inbook{10.7591/j.ctv2n7h17.5,
ISBN = {9780801473067},
URL = {http://www.jstor.org/stable/10.7591/j.ctv2n7h17.5},
author = {TOM ZANIELLO},
booktitle = {The Cinema of Globalization: A Guide to Films about the New Economic Order},
pages = {25--32},
title = {[A]},
year = {2007}
@inbook{10.2307/j.ctv11smnxp.16,
ISBN = {9780822341321},
URL = {http://www.jstor.org/stable/j.ctv11smnxp.16},
abstract = {It wasn’t long before crime jazz spurred a subgenre termed spy music, typical of films and
television series devoted to espionage and characterized by a greater attention to melody, by precise
references to the instrumental rock of the 1950s and 1960s, by the repeated use of electric organ, and by a
consistent dose of humor. The new style was suited to both invisible enemies who seemed “just like us,”
agile protagonists of sudden betrayals, and also to the new cultural hero of the Cold War—the secret
agent.Before the 1950s, the spy, the other, was perceived in an American},
author = {Francesco Adinolfi},
booktitle = {Mondo Exotica: Sounds, Visions, Obsessions of the Cocktail Generation},
pages = {180--191},
title = {Shaken and Stirred},
year = {2008}
@inbook{10.2307/j.ctvdjrnq6.16,
URL = {http://www.jstor.org/stable/j.ctvdjrnq6.16},
abstract = {Das Instituts-Archiv umfasst u.a. die vom seinerzeitigen Institut für Musikgeschichte unter der
Leitung von Prof. Dr. Friedrich C. Heller gesammelten Materialien zur musikalischen Zeitgeschichte
Österreichs. Neben Zeitschriften, Programmen, Briefen, Musikalien, Photographien, Illustrationen gibt es
historische Tonaufnahmen sowie zahlreiche (mittlerweile von den Originaltonbändern auf CDs überspielte)
Aufzeichnungen von Interviews, deren Bestand in seit 1993 erstellten Regesten als Handexemplare zum Teil
zugänglich gemacht wurde (http://www. musikgeschichte. at/materialien.htm).Seit 2006 werden sie neu
dokumentiert und die Regesten in einer fortlaufenden Reihe im Jahrbuch ANKLAENGE publiziert (Teil I in:
ANKLAENGE 2006 , S. 189–203). Seite A:Interview mit Johannes Brenneis, 8.01.1985 (zur Situation},
author = {Erika Hitzler},
booktitle = {ANKLAENGE 2007: Zwischen Experiment und Kommerz. Zur Ästhetik elektronischer Musik},
pages = {175--194},
publisher = {Hollitzer Verlag},
title = {Regesten zu Beständen des Institutsarchivs: Interviews mit Zeitzeugen (II)},
year = {2007}
@inbook{10.2307/j.ctv1mjqv95.41,
ISBN = {9780691155555},
URL = {http://www.jstor.org/stable/j.ctv1mjqv95.41},
abstract = {By many accounts the Parisian premiere of L’Assassinat du duc de Guise caused a sensation.¹
The film dramatized a violent episode in French monarchical history: the murder, in 1588, of the powerful
Duke Henri de Guise at the behest of King Henri III.² In addition to the somewhat lurid story, factors
contributing to the film’s success included the actors’ nuanced performances, the elaborate mise-en-scène,
the careful editing, and not least, the fine music by Saint-Saëns.The event marked a milestone in the annals
of film music—the first live performance of an original film score by a composer of such},
author = {MARTIN MARKS and CAMILLE SAINT-SAËNS},
booktitle = {Camille Saint-Saëns and His World},
pages = {357--369},
publisher = {Princeton University Press},

title = {Saint-Saëns and Silent Film / Sound Film and Saint-Saëns},
volume = {32},
year = {2012}
@article{10.2307/30136125,
ISSN = {00097101, 15272087},
author = {Scott Higgins and Sara Ross},
journal = {Cinema Journal},
number = {3},
pages = {167--177},
publisher = {[University of Texas Press, Society for Cinema & Media Studies]},
title = {Archival News},
volume = {47},
year = {2008}
@article{10.2307/41689896,
ISSN = {00097004},
number = {4},
volume = {30},
year = {2005}
@article{10.2307/23989485,
ISSN = {09456945, 21995958},
number = {1},
volume = {162},
year = {2001}
@article{10.2307/43868169,
ISSN = {00097004},
author = {Calvin Green},
number = {2},
pages = {35--36},
reviewed-author = {Alberto Grimaldi and Gillo Pontecorvo and Franco Solinas and Giorgio Arlorio and
Marcello Gatti and Ennio Morricone and Marlon Brando and Evaristo Marquez and Renato Salvatori},
volume = {4},
year = {1970}
@article{10.2307/3877557,
ISSN = {02611430, 14740095},
abstract = {The 'temp track', a temporary mock-up of a film's soundtrack, is assembled from pre-existing
music prior to the real, commissioned score being composed. An integral element of the post-production
process of American feature films, it survives only in its role for audience previews. Constructed by a music
editor, in most cases, it is a blueprint of a film's soundtrack - a musical topography of score, songs, culture
and codes in which a balance must obtain between the director's vision, the music's function, underlying
requirements of genre, and the spectator's perception. This article demonstrates that the temp track
informs compositional practices and the final score, and makes the argument that textual analysis would
benefit from the recognition of the role of production practices. Drawing on published sources and
interviews with practitioners, this article provides historical context and musical detail, and shows how
productive analysis can be when it draws on practitioners' insights as well as textual analysis. Film score
analysis must not begin and end with the finished film score but must utilise a more eclectic methodology
which takes into account the production process. Film score analysis should reflect the constitutive nature
of film and film music.},
author = {Ronald H. Sadoff},
journal = {Popular Music},
number = {2},
pages = {165--183},

title = {The Role of the Music Editor and the 'Temp Track' as Blueprint for the Score, Source Music, and
Scource Music of Films},
volume = {25},
year = {2006}
@article{10.1525/tph.2010.32.2.9,
ISSN = {02723433, 15338576},
URL = {http://www.jstor.org/stable/10.1525/tph.2010.32.2.9},
abstract = {Abstract On August 23, 1927, Italian anarchists Nicola Sacco and Bartolomeo Vanzetti were
executed for robbery and murder in Massachusetts. This essay examines the echoes of that event in
Boston's commemorative landscape as a means to discuss the relationship between official and vernacular
expressions of public memory as well as some of the limitations that interpreting ideological radicalism
reveals in public historical practice. It examines the history and discourses surrounding the Sacco and
Vanzetti Memorial at the Boston Public Library, the Sacco and Vanzetti Memorial Day Proclamation (1977),
and a 2007 anarchist/radical parade and rally in Boston commemorating the eightieth anniversary of the
executions.},
author = {Stephanie E. Yuhl},
journal = {The Public Historian},
number = {2},
pages = {9--30},
publisher = {[National Council on Public History, University of California Press]},
title = {Sculpted Radicals: The Problem of Sacco and Vanzetti in Boston's Public Memory},
volume = {32},
year = {2010}
@article{10.2307/25501798,
ISSN = {00308129},
abstract = {The paradoxical dependence of genre histories on historically accidental acts of naming and on
transcendental critical imagination is demonstrated by the Chinese western, a little-understood genre that
has become a major part of Chinese-language cinema over the past two decades. After the genre was
proposed in 1984 by the Chinese film theorist Zhong Dianfei, as a realist reaction against the ideological
excesses of the Cultural Revolution, its ambiguous status as a Hollywood import quickly became a proxy for
larger cultural battles over China's place in an American-dominated international cultural system.
Moreover, despite assurances by Zhong and other critics that the genre was not susceptible to Hollywood
influence, the production history of the genre from the late 1980s to the present demonstrates a pattern of
generic influence and eventual fusion that tracks Chinese state-owned studios' evolution from subsidized
propaganda organs to participants in a globalized entertainment industry.},
author = {Daniel Fried},
journal = {PMLA},
number = {5},
pages = {1482--1498},
publisher = {Modern Language Association},
title = {Riding off into the Sunrise: Genre Contingency and the Origin of the Chinese Western},
volume = {122},
year = {2007}
@article{10.5699/yearworkmodlang.75.2013.0699,
ISSN = {00844152, 22224297},
URL = {http://www.jstor.org/stable/10.5699/yearworkmodlang.75.2013.0699},
journal = {The Year's Work in Modern Language Studies},
pages = {699--772},
publisher = {[Modern Humanities Research Association, Brill]},
title = {Index},
volume = {75},
year = {2015}
@article{10.2307/41811891,
ISSN = {00274224, 14774631},
abstract = {Music is a crucial component of the multivalent discourses of gender operating within the 1940s
Hollywood crime film, and it engages with interrelated storylines of crime and romance both to create and
to contain agency in the problematic figure of the amateur 'working girl' investigator. The soundtrack is
used to position characters within archetypes that reflect anxieties about gendered roles and identities in
American society, not only drawing attention to the professional activity and associated sleuthing
opportunities of the female lead, but also evoking notions of musical owner-ship that act primarily to
reassert more traditional hierarchies of control. Both conventional 'classical' scoring and pre-existing library
cues are shown to be significant within the crime film's exploration of issues of justice, criminality, romance
and identity; music engages explicitly with character subjectivity and textual mobility in ways that support
and subvert other aspects of cinematic narrative. The following films are discussed in detail: Stranger on
the Third Floor (Boris Ingster, 1940), Two O'Clock Courage (Anthony Mann, 1945), Deadline at Dawn
(Harold Clurman, 1946), and The Big Steal (Don Siegel, 1949).},
author = {Catherine Haworth},
journal = {Music & Letters},

number = {4},
pages = {543--573},
title = {DETECTIVE AGENCY? SCORING THE AMATEUR FEMALE INVESTIGATOR IN 1940S HOLLYWOOD},
volume = {93},
year = {2012}
@article{10.2307/27808656,
ISSN = {17411912, 17411920},
abstract = {A handful of recent film studies publications have taken as their subject composers' reflexive
and analytical accounts of their own practice in creating music for film. This paper aims to take that
approach a step further by exploring both the collaborative creative processes behind the composition of
my score for the 2007 South African/Danish film, My Black Little Heart, and the cross-cultural
representational issues raised by it. It is often unacknowledged by composers how much a director,
producer or music editor informs the final score, and I examine the often very subtle decision-making
processes, the constant adjustments and readjustments, that occurred between the film maker (in this
case, the director) and myself, the composer, in the creation of the film's music. An unusual consequence
of the high level of creative reciprocity on this project was the powerful influence the music had on the
structure of the film. This paper adds to a growing body of recent scholarship that sees a consideration of
the production process as fundamental to an understanding of music's active role in the creation of
meaning in a film; the antithesis of seeing the score as simply music tacked on to a virtually complete film.
This paper also examines the way the film uses a number of diegetic music cues associated with specific
characters as a shorthand delineation of their racial, religious and sub-cultural identities. I look at the
representational value of these cues and how they relate to stereotypes, myths and metaphors used to
describe post-apartheid society, as well as how this relates to the film's representation of South African
realities. The article ends with a brief analysis and interpretation of the music, its meaning and effects, but
rather unusually, this is done from the perspective of the composer, something that is still relatively rare in
film music studies.},
author = {Christopher Letcher},
journal = {Ethnomusicology Forum},
number = {1},
pages = {21--36},
publisher = {[Taylor & Francis, Ltd., British Forum for Ethnomusicology]},
title = {Mbaqanga
, Bollywood and Beethoven on the Beachfront: A Composer's Perspective on Representation and Identity in
the Film
My Black Little Heart},

volume = {18},
year = {2009}
@article{10.2307/24472941,
ISSN = {00036420},
author = {Katherine Dieckmann},
journal = {Aperture},
number = {121},
pages = {74--76},
publisher = {[Princeton University Art Museum, Aperture Foundation, Inc.]},
title = {OBSCURE OBJECTS OF DESIRE: THE FILMS OF PEDRO ALMODÓVAR},
year = {1990}
@article{10.2307/43456679,
ISSN = {0015119X},
author = {DEBORAH YOUNG},
number = {2},
pages = {38--43},
title = {FREE RADICAL},
volume = {40},
year = {2004}
@article{10.2307/41689584,
ISSN = {00097004},
author = {Russell Jackson},
number = {2},
pages = {48--51},
title = {Two Silent Shakespeares: Richard III and Othello},
volume = {28},
year = {2003}
@article{10.2307/945520,
ISSN = {00402982, 14782286},
author = {Martin Anderson},
journal = {Tempo},
number = {206},
pages = {61--63},
title = {Proms Report: Music and Politics: The First Weeks},
year = {1998}
ISBN = {9780816656073},
abstract = {When a dream becomes a nightmare, the average dreamer just wants to wake up and shake off
the cold grip of night terrors. But the history of horror literature is full of dreamers who carried over their
nightmares to the waking hours, then committed them to paper. The three most famous examples gave
usFrankenstein, DraculaandDr. JekyllandMr. Hyde.Mary Shelley was vacationing in Switzerland with her half
sister, lover (later husband) Percy Bysshe Shelley, his friend, the mad-bad-and-dangerous-to-know Lord
Byron, and Byron’s high-strung companion, Dr. Polidori. Her dream gave her the material with which to
rise},
pages = {123--158},
title = {SUSPIRIA and INFERNO},
year = {2010}
@inbook{10.3366/j.ctt1r1z12.31,
ISBN = {9780748635238},
URL = {http://www.jstor.org/stable/10.3366/j.ctt1r1z12.31},
abstract = {The idea of silent Shakespeare strikes many as oxymoronic. In its muting of Shakespearean
drama, silent Shakespearean cinema robs its inherited source of that which most frequently, and perhaps
most crucially, has been taken to define it. In effect, the collaboration of this dramatic material with this
medium of expression can be read as a liaison of naturally antithetical forces: one imaginatively evokes the
image through the suggestive power of the poetically employed word, the other does not just erode the
power of the word in its privileging of the image, but all but ousts words from its performance space.},
author = {Judith Buchanan},
booktitle = {The Edinburgh Companion to Shakespeare and the Arts},
pages = {467--483},
title = {SHAKESPEARE AND SILENT FILM},
year = {2011}
@inbook{10.2307/j.ctt1npnb3.14,
ISBN = {9780300115048},
URL = {http://www.jstor.org/stable/j.ctt1npnb3.14},
abstract = {Between 1967 and 1980, fromBonnie and Clyde to All That Jazz, most of the movies worth
seeing originated in America. Although a young generation of American directors, critics, and moviegoers
were deeply affected by foreign films, Hollywood’s own products again became essential to anyone
anywhere who cared about movies. Once more, the films people argued about and remembered, that
spoke directly to their social concerns and private predicaments, flowed from the United States. In few
other periods were the works of American directors so central in shaping the experience and attitudes of
audiences all over the world.The renaissance},
author = {RICHARD PELLS},
booktitle = {Modernist America: Art, Music, Movies, and the Globalization of American Culture},
pages = {294--342},
title = {The New Wave at Home},
year = {2011}
@inbook{10.3998/mpub.152565.11,
ISBN = {9780472115556},
URL = {http://www.jstor.org/stable/10.3998/mpub.152565.11},
abstract = {From its very beginnings in the mid-1970s, new wave was characterized by its maddeningly
diverse collective identity, a trait that made it difficult to define as a movement. Anyone surveying the new
wave landscape at the dawning of the 1980s need not have looked far to find proof of this. Two of the most
successful new wave groups at that time, Adam and the Ants and the Talking Heads, seemed to have arisen
from entirely different universes. As their unusual name suggests, the British group Adam and the Ants
cultivated a cartoonish pop star cult image. The group’s leader, Adam},
author = {Theo Cateforis},
booktitle = {Are We Not New Wave?: Modern Pop at the Turn of the 1980s},
pages = {182--216},
publisher = {University of Michigan Press},
title = {Kings of the Wild Frontier},
year = {2011}
@inbook{10.2307/j.ctt45kdkt.16,
ISBN = {9789089642059},
URL = {http://www.jstor.org/stable/j.ctt45kdkt.16},
abstract = {Barely two years after the Second World War had ended, a few of the barracks on the former
site of Auschwitz-Birkenau were rebuilt. Along with the restoredAppellplatz, they served as the set for The
Last Stage (Ostatni Etap), a film by the Polish director Wanda Jakubowska, who had been interned for years
herself, first in the women’s concentration camp at Ravensbrück, later in Auschwitz. By filming on location,
she and her fellow prisoner Gerda Schneider, the scriptwriter, wanted to create the most authentic
possible image of the horrors that they had experienced, but also of the close ties of},
author = {FRANK VAN VREE},
booktitle = {Performing the Past: Memory, History, and Identity in Modern Europe},
pages = {257--284},
publisher = {Amsterdam University Press},
title = {Indigestible images.: On the ethics and limits of representation},
year = {2010}
@inbook{10.7722/j.ctt6wp9zp.6,
ISBN = {9781580462457},
URL = {http://www.jstor.org/stable/10.7722/j.ctt6wp9zp.6},
abstract = {I have been closely associated with the American Academy in Rome since I arrived there in
September 1964 as that year’s Rome Prize Fellow in Music Composition. Following a three-year fellowship, I
remained in Rome as a recipient of a Guggenheim Fellowship and, after winning the 1969Kranichsteiner
Musikpreisin piano, I settled in Rome as a freelance composer-pianist. In the fall of 1970 I was composer-in-
residence at the Academy and began assisting with the Academy’s music program on a regular basis. I have
continued to do so—first as an adviser to the composers-in-residence and subsequently as the music},
author = {Richard Trythall},
booktitle = {Music and Musical Composition at the American Academy in Rome},
pages = {42--124},
title = {A History of the Rome Prize in Music Composition, 1947–2006},
year = {2014}
@inbook{10.2307/j.ctt1m3p24b.22,
ISBN = {9788874628810},
URL = {http://www.jstor.org/stable/j.ctt1m3p24b.22},
booktitle = {Arte a Firenze 1970-2015: Una città in prospettiva},
pages = {281--446},
publisher = {Quodlibet},
title = {English texts},
year = {2016}
@inbook{10.2307/j.ctt1dgn4wh.13,
ISBN = {9780803215399},
URL = {http://www.jstor.org/stable/j.ctt1dgn4wh.13},
abstract = {Jean-François Lyotard’s postmodern experimental textPacific Wallbegins with a description of

the University of California, San Diego library as a “transparent jewel” with its “walls of glass” pointing in all
directions, both “internal” and “external,” radiating both total vision and knowledge “without problem or
hindrance.” However, his narrator goes on to think more about this elaborate crystal grid as a “maze” or
labyrinth whose refractions and angles draw the eye away from the books, “behind the western face,” from
inside to outside and back again, until “it begins to jump from one to the other, and the suspicion arises},
author = {Neil Campbell},
booktitle = {The Rhizomatic West: Representing the American West in a Transnational, Global, Media Age},
pages = {299--324},
publisher = {University of Nebraska Press},
title = {CONCLUSION: On “The Crystal Frontier”},
year = {2008}
@inbook{10.2307/j.ctt6wq1k6.7,
ISBN = {9781557536877},
URL = {http://www.jstor.org/stable/j.ctt6wq1k6.7},
abstract = {Having delineated the principal features of Edith’s Bruck’s prose writings in the previous
chapter, this study now shifts its focus to the link between the author’s narrative production and her as yet
(mostly) unstudied contributions to the Italian film industry, first as a screenwriter and eventually as the
director of documentaries and fictional films. She first came into contact with the world of cinema when
she was hired as a consultant for a film on the Shoah in the late 1950s. The adaptation of one of her short
stories for the screen brought her even closer to the center of},
author = {Philip Balma},
booktitle = {Edith Bruck in the Mirror: Fictional Transitions and Cinematic Narratives},
pages = {69--136},
publisher = {Purdue University Press},
title = {Reciprocal Influences between Literature and Cinema},
year = {2014}
@inbook{10.2307/j.ctvj4svpn.8,
ISBN = {9780718894993},
URL = {http://www.jstor.org/stable/j.ctvj4svpn.8},
abstract = {Persecution and propaganda were significant features of the wars waged against both the
Anabaptists and the Liberationists. The responses within these two radical faith movements to the
onslaughts they experienced varied considerably. Some within the movements called for reform and others
for revolution. Some responded with an other-worldly fatalism; others developed negotiation and survival
skills that served them well, at least for a time; a few responded to violence with violence, preferring both
to live and die by the sword. Most had a dream of a fairer world in the here and now or the hereafter (and
often in both)},
author = {Michael Ian Bochenski and Christopher Rowland},
booktitle = {Transforming Faith Communities: A Comparative Study of Radical Christianity in Sixteenth-

Century Anabaptism and Late Twentieth-Century Latin America},
edition = {1},
pages = {64--111},
publisher = {The Lutterworth Press},
title = {Responding to Revolution},
year = {2013}
@inbook{10.2307/j.ctv138413v.5,
ISBN = {9781906733513},
URL = {http://www.jstor.org/stable/j.ctv138413v.5},
abstract = {In 1563, the Witchcraft Act came into force in Scotland and England. During the reign of James I,
the Witchcraft Statute of 1604 decreed it a more serious crime, punishable by hanging. Matthew or
Mathew Hopkins (ca. 1620–47) was a witch-hunter during the English Civil War who bestowed upon
himself the title of Witchfinder General. He was the son of a clergyman from Grantham, Lincolnshire,
although some accounts (including Bassett’s novel) claim he was born in Wenham, Suffolk. Hopkins was
widely believed to have trained as a lawyer (indeed, most accounts still describe him as such) although
there is},
author = {Ian Cooper},
booktitle = {Witchfinder General},
pages = {23--56},
title = {Context, Production and Reception},
year = {2011}
@article{10.2307/26355723,
ISSN = {07482558, 19311427},
journal = {Shakespeare Bulletin},
number = {2},
pages = {3--4},
title = {EVENTS},
volume = {19},
year = {2001}
@article{10.2307/41690498,
ISSN = {00097004},
number = {3},

volume = {32},
year = {2007}
@article{10.2307/23991908,
ISSN = {09456945, 21995958},
number = {1},
pages = {4--9},
title = {NOTIZEN},
volume = {167},
year = {2006}
@article{10.2307/3655971,
ISSN = {00213020},
author = {Daniela Bini},
journal = {Italica},
number = {1},
pages = {44--61},
publisher = {American Association of Teachers of Italian},
title = {La voce del mare: Da Oceano mare di Baricco a La leggenda del pianista sull'oceano di Tornatore},
volume = {79},
year = {2002}
@article{10.2307/43797056,
ISSN = {00904260},
author = {Sarah Miles Watts},

number = {4},
pages = {297--302},
title = {Lolita: Fiction into Films without Fantasy},
volume = {29},
year = {2001}
@article{10.2307/43406259,
ISSN = {0015119X},
author = {JOHN CAPS},
number = {6},
pages = {31--49},
title = {SOUNDTRACKS 101: ESSENTIAL MOVIE MUSIC: A LISTENER'S GUIDE},
volume = {39},
year = {2003}
@article{10.2307/20688645,
ISSN = {07424671, 19346018},
author = {DAVID SCOTT DIFFRIENT},
journal = {Journal of Film and Video},
number = {4},
pages = {17--30},
publisher = {[University of Illinois Press, University Film & Video Association]},
title = {Autobiography, Corporeality, Seriality: Nanni Moretti's Dear Diary as a Narrative Archipelago},
volume = {61},
year = {2009}
@article{10.2307/43030335,
ISSN = {11238615, 20356706},
abstract = {Il saggio presenta uno studio acustico dettagliato condotto sulla sala Santa Cecilia, capace di
2800 posti, sita nell'auditorium Parco della Musica costruito di recente a Roma; si tratta della prima analisi
in risoluzione spaziale di questo tipo. Lo studio consiste di una serie di misure del responso ottenuto per
deconvoluzione da suoni emessi, in una gamma continua di frequenze, da una sorgente onnidirezionale
posta sul palcoscenico. Dai dati si sono ottenuti valori per ottavi di banda del tempo di riverberazione, del
tempo di decadimento iniziale, dell'indice di chiarezza, del tempo centrale, della strength acustica, e inoltre
dei parametri che definiscono la spazialità e il senso di avvolgimento del suono, quali lo IACC e lo LF. Le
risultanze sperimentali possono essere considerate soddisfacenti, anche se qualche miglioria andrà
contemplata.},
author = {Gianfrancesco Araneo and Angelo Farina and Andrea Frova},
journal = {Il Saggiatore musicale},
number = {2},
pages = {205--220},
publisher = {[Casa Editrice Leo S. Olschki s.r.l., Il Saggiatore musicale. Rivista semestrale di Musicologia]},
title = {STUDY OF ACOUSTICAL PROPERTIES IN THE SANTA CECILIA CONCERT HALL IN ROME},
volume = {13},
year = {2006}
@article{10.2307/25164577,
ISSN = {00316016},
author = {Mihai Cucos},
journal = {Perspectives of New Music},
number = {1},
pages = {198--211},
publisher = {Perspectives of New Music},
title = {A Few Points about Burt Bacharach...},
volume = {43},
year = {2005}
@article{10.2307/40505884,
ISSN = {00213020},
author = {Cosetta Gaudenzi},
number = {2},
pages = {293--312},
title = {Luciano Ligahue's Radiofreccia: Regionalism and Globalization},
volume = {86},
year = {2009}
@article{10.2307/40159124,
ISSN = {01963570, 19458134},
journal = {World Literature Today},
number = {4},
pages = {9--9},
publisher = {Board of Regents of the University of Oklahoma},
title = {A Silk Road Project Discography},
volume = {80},
year = {2006}
@article{10.2307/23990635,
ISSN = {09456945, 21995958},
author = {cordelia scherwitz},
number = {5},
pages = {38--43},
title = {«produktive kollaboration»: john zorn, elliott sharp, anthony coleman —mavericks in downtown
manhattan},
volume = {162},
year = {2001}
@article{10.2307/25562149,
ISSN = {01417762},
author = {Noel Burke},
journal = {Fortnight},
number = {459},
pages = {32--32},
publisher = {Fortnight Publications Ltd.},
title = {My Cultural Life: Noel Burke},
year = {2008}
@inbook{10.2307/j.ctt1djmfcg.6,
ISBN = {9789561411913},
URL = {http://www.jstor.org/stable/j.ctt1djmfcg.6},
abstract = {Ordenados en dificultad creciente, los ejercicios plantean varias posibilidades de combinación
de compases:Cambio entre compases simples y compuestosCambio entre compases simples, compuestos y
mixtos En cada uno de estos casos se puede hacer equivalencias distintas, practicando las diferencias que
se producen al hacer las relaciones de pulso entre un compás y otro.Los ejemlos de heterometría pueden
ser sacados del repertorio musical de distintos estilos y diferentes culturas para trabajar modelos y
prácticas diversas, muchas de ellas incluso incorporadas en composiciones de obras pertenecientes al
repertorio de la música docta. Esta actividad pone en práctica los dominios que},
author = {Gina Allende Martínez},
booktitle = {Puro ritmo: Manual para la práctica integrada del ritmo en la clase de solfeo},
pages = {113--134},
publisher = {Ediciones UC},
title = {ejercicios a una voz con heterometría},
year = {2011}
@inbook{10.1525/j.ctt1ppgzx.13,
ISBN = {9780520250697},
URL = {http://www.jstor.org/stable/10.1525/j.ctt1ppgzx.13},
abstract = {Auteurism in film studies has led a double life since the 1970s. On one hand, successive waves of
theory lapping at the edifice built by the critics atCahiers du cinémaandMoviehave pronounced the auteur
as a locus of value an unacceptably Romantic construct, a fetishized commodity, dead, or irrelevant. On the
other hand, auteurist discourses remain remarkably, vigorously resistant. The very film studies
departments that teach the death of the film author continue to offer popular courses on directors old and
new; and in academic publishing, monographs on directors maintain as strong a presence as ever.While},
author = {CLAUDIA GORBMAN},
booktitle = {Beyond the Soundtrack: Representing Music in Cinema},
edition = {1},
pages = {149--162},
title = {Auteur Music},
year = {2007}
@inbook{10.2307/j.ctt16gh81f.9,
ISBN = {9780253015167},
URL = {http://www.jstor.org/stable/j.ctt16gh81f.9},
abstract = {Arab filmmaking in the 2000s consists of many strands, one of which is the work of those
filmmakers who are based in Paris. These might seem to constitute a typical exile group of the kind so ably
chronicled by Hamid Naficy.¹ Certainly many of their films carry the marks of exile and diaspora, and some
chronicle a return—real or imagined—to the filmmaker’s roots. But the filmmakers’ concern to make films
set in their countries of origin meshes perfectly with the French government’s policy of creating a network
of worldwide cultural filmmaking with Paris at its center. Indeed, French},
author = {Roy Armes},
booktitle = {New Voices in Arab Cinema},
pages = {89--304},
title = {Feature Filmmaking},
year = {2015}
@inbook{10.2307/j.ctt1j7x6x6.5,
URL = {http://www.jstor.org/stable/j.ctt1j7x6x6.5},
abstract = {Franco Zeffirelli began his sixth feature film, which was also his third Shakespeare adaptation,
confident that he knew how to reshapeHamletinto a powerful and popular film. InThe Taming of the Shrew,
he demonstrated an ability to adjust the play’s emphases to the abilities and personalities of his stars,
Richard Burton and Elizabeth Taylor. In his starlessRomeo and Juliet, he demonstrated an ability to apply
Olivier’s essayistic method of streamlining the play’s significations and replacing lost text-generated
interest with cinematic interest. Both abilities are evident in his star-studded and streamlinedHamlet,
although his casting of action star},
author = {PATRICK J. COOK},
booktitle = {Cinematic Hamlet: The Films of Olivier, Zeffirelli, Branagh, and Almereyda},
edition = {1},
pages = {65--104},
publisher = {Ohio University Press},
title = {FRANCO ZEFFIRELLI’S Hamlet: Modernizing Medievalism},
year = {2011}
@inbook{10.2307/j.ctt9qhhn3.12,
ISBN = {9780708324738},
URL = {http://www.jstor.org/stable/j.ctt9qhhn3.12},
abstract = {In Raul Ruíz’s filmMémoire des apparences(1986),¹ a literary professor attempts to recall lines
fromLa vida es sueño; the identities of the other members of his revolutionary group are encrypted in
different lines. Struggling with the task, he visits the cinema repeatedly; the screen functions as a
mnemonic device due to the underlying similarities in the different media. In fact, ever since Ramón
Menéndez Pidal referred to a Lope play as a ‘verdadero cinedrama’ [genuinely cinematic drama] (1924, p.
541), commentators have persistently noted the cinematic quality of thecomedia. Golden Age drama’s
cultural ubiquity in the seventeenth},
author = {DUNCAN WHEELER},
booktitle = {Golden Age Drama in Contemporary Spain: The Comedia on Page, Stage and Screen},
edition = {1},
pages = {135--188},
publisher = {University of Wales Press},
title = {Cinema and Golden Age drama: the comedia goes to the movies},
year = {2012}
@inbook{10.7312/patt567426.18,
URL = {http://www.jstor.org/stable/10.7312/patt567426.18},
abstract = {The appearance of Terrence Malick’sThe Thin Red Linein 1998 after a hiatus of more than two
decades left no doubt about one aspect of the director’s achievement and personal style in the cinema: the
central importance of landscape and the natural world.The film begins with a shot of a crocodile and a
voice asking, ‘What is this war in the heart of nature?’ That war obviously extends to human society as well.
For Malick, humanity balances on the edge between reason and irrationality, comedy and tragedy, fairytale
adventure and deadly conflict, faith in moral values and nihilism.},
author = {Robert Silberman},
booktitle = {The Cinema of Terrence Malick: Poetic Visions of America},
edition = {2},
pages = {164--178},
title = {Terrence Malick, Landscape and ‘What is this war in the heart of nature?’},
year = {2007}
@inbook{10.3138/9781442684478.11,
ISBN = {9780802091895},
abstract = {This is a story about rescue, but it is also about the rescue of a story. In 1990 Italian television
broadcast an interview with Giorgio Perlasca about his activities towards the end of the Second World War
in Budapest, where he managed to save the lives of 5200 Hungarian Jews through a series of intrigues and
diplomatic sleights of hand. Two years after the airing of the TV interview, journalist Enrico Deaglio
published his superb book-length study of Perlasca, entitledLa banalità del bene(The Banality of Goodness)
in an ironic recall of Hannah Arendt’s landmark work on the psychological},
author = {MILLICENT MARCUS},
booktitle = {Italian Film in the Shadow of Auschwitz},
pages = {125--139},
title = {The Holocaust Rescue Narrative and the End of Ideology: Alberto Negrin’s Perlasca, un eroe italiano
(Perlasca: The Courage of a Just Man)},
year = {2007}
@inbook{10.3138/9781442684478.8,
ISBN = {9780802091895},
abstract = {A compelling example of the Italian need to represent the Shoah at this particular historical
juncture isCanone inverso, the 1996 novel by Triestine writer Paolo Maurensig, adapted by filmmaker Ricky
Tognazzi in 2000. Of the greatest interest to my study is the relationship between novel and film – the
adaptive strategy by which Tognazzi has taken a story that is only tangentially concerned with the plight of
the Jews in Nazi-occupied Europe, and has made it, instead, a full-fledged Holocaust text. In so doing, he
has brought the latencies, half-tones, and ellipses of Maurensig’s novel into the foreground of},
author = {MILLICENT MARCUS},
booktitle = {Italian Film in the Shadow of Auschwitz},

pages = {85--98},
title = {The Haunting Strains of Holocaust Memory: Ricky Tognazzi’s Canone inverso (Making Love)},
year = {2007}
@inbook{10.2307/j.ctv11smnxp.14,
ISBN = {9780822341321},
URL = {http://www.jstor.org/stable/j.ctv11smnxp.14},
abstract = {With the advent of stereo, the final sonic frontier of the 1950s and 1960s, space-age pop
entered its exotic-experimental phase. Artists began to look beyond earth and try their hands at “space
music.” A significant impetus came from stereo itself, a technology that made it possible to trick oneself
into believing that the sounds reproduced by the speakers originated from different distances and
directions—perhaps even from other worlds. Artists, arrangers, and pioneers of electronic pop were also
convinced that one could capture the true sound of the planets on an album, an “alternate/other” universe
built upon the same assumptions},
author = {Francesco Adinolfi},
booktitle = {Mondo Exotica: Sounds, Visions, Obsessions of the Cocktail Generation},
pages = {145--167},
title = {The Moon in Stereo},
year = {2008}
@inbook{10.2307/j.ctv11sn05k.8,
ISBN = {9780822349969},
URL = {http://www.jstor.org/stable/j.ctv11sn05k.8},
abstract = {Well, okay—I already wrote a book about this stuff. It’s called Stairway to Hell: The 500 Best
Heavy Metal Albums in the Universe, and it came out in 1991 and then in an updated edition in 1998. You
can probably find it cheap on Amazon, so I’ll do my best not to be redundant here. Basically, when I started
writing about music, heavy metal needed defending; class biases of rock critics being what they are, it still
does to a certain extent. But now plenty of younger critics out there write about nothing but, which frees
me up to},
author = {CHUCK EDDY and Chuck Klosterman},
booktitle = {Rock and Roll Always Forgets: A Quarter Century of Music Criticism},
pages = {85--138},
title = {UMLAUTS FROM HECK},

year = {2011}
@article{10.2307/41123782,
ISSN = {00274801},
number = {3},
volume = {54},
year = {2001}
@article{10.2307/43029713,
ISSN = {11238615, 20356706},
number = {1/2},
pages = {328--335},
title = {LIBRI RICEVUTI},
volume = {9},
year = {2002}
@article{10.2307/43029676,
ISSN = {11238615, 20356706},
number = {2},
pages = {383--389},
title = {LIBRI RICEVUTI},
volume = {8},
year = {2001}
@article{10.2307/23555060,
ISSN = {00095028, 21632170},
number = {7},
volume = {44},
year = {2004}
@article{10.2307/41689928,
ISSN = {00097004},
number = {1},
volume = {31},
year = {2005}
@article{10.2307/3052390,
ISSN = {07344392, 19452349},
author = {Nina Perlove},
journal = {American Music},
number = {1},
pages = {50--77},
title = {Inherited Sound Images: Native American Exoticism in Aaron Copland's Duo for Flute and Piano},
volume = {18},
year = {2000}
@article{10.2307/3661078,
ISSN = {00097101, 15272087},
abstract = {Although officially categorized as "military enlightenment" and "anticommunist" by the Park
Chung Hee regime, the war films directed by Yi Man-hŭi (Lee Man-hee)--one of the most important auteurs
in South Korea's cinematic Golden Age of the 1960s--transcend formulaic genre constraints and deserve
special attention for their humanistic approach to the Korean War.},
author = {David Scott Diffrient},
number = {1},
pages = {22--49},
title = {"Military Enlightenment" for the Masses: Genre and Cultural Intermixing in South Korea's Golden
Age War Films},
volume = {45},
year = {2005}
@article{10.2307/41209984,
ISSN = {15248429, 2161427X},
author = {Antonella D'Amore},
journal = {Interdisciplinary Literary Studies},
number = {1},
pages = {162--181},
publisher = {Penn State University Press},
title = {Bruce Springsteen's World Citizenship},
volume = {9},
year = {2007}
@article{10.2307/30038736,
ISSN = {00213020},
author = {Antonio Vitti},
number = {1},
pages = {53--66},
title = {Dal "Pedinamento" All'affabulazione Cinematografica in Stanno tutti bene},
volume = {80},
year = {2003}
@article{10.2307/24007367,
ISSN = {07417527},
author = {Giacomo Manzoli},
journal = {Annali d'Italianistica},
pages = {95--106},
publisher = {Annali d’Italianistica, Inc.},
title = {Barocco siciliano},
volume = {17},
year = {1999}
@article{10.2307/44377687,
ISSN = {00078069, 23275898},
author = {Kevin J. H. Dettmar},
journal = {CEA Critic},
number = {2/3},
pages = {1--20},
title = {Wunderkindtotenlieder: On Dying Too Young in Rock},

volume = {66},
year = {2004}
@article{10.2307/26513075,
ISSN = {00695696, 2334203X},
author = {Juan Chattah},
title = {Exploring Alternative Repertoires: Film-Music Pedagogy},
volume = {51},
year = {2011}
@article{10.2307/1213241,
ISSN = {00151386, 15338630},
author = {Maurizio Viano},
journal = {Film Quarterly},
number = {4},
pages = {21--27},
title = {Who Is Killing Pasolini? Two Books and Two Films Show How to Keep Him Alive},
volume = {51},
year = {1998}
@article{10.2307/43451947,
ISSN = {0015119X},
author = {Elaine Lomenzo and Sergio Leone},
number = {4},
pages = {21--23},
title = {A Fable for Adults: Sergio Leone interviewed by Elaine Lomenzo},
volume = {20},
year = {1984}
@article{10.2307/43796863,
ISSN = {00904260},
author = {Gene D. Phillips},
number = {4},
pages = {288--295},
title = {Exiled in Eden: Screen Versions of Conrad's "Nostromo"},
volume = {26},
year = {1998}
@article{10.2307/43452608,
ISSN = {0015119X},
author = {David Chute},
number = {4},
pages = {2--8},
title = {David Chute from Los Angeles},
volume = {17},
year = {1981}
@article{10.2307/20795369,
ISSN = {02101459},
number = {1},
pages = {314--315},
title = {III ENCUENTRO INTERNACIONAL DE MÚSICA DE CINE (Sevilla, 15-20 de mayo de 1989)},
volume = {13},
year = {1990}
@article{10.2307/40828624,
ISSN = {00456896},
author = {Joaquim Gomis},
journal = {El Ciervo},
number = {708},
pages = {7--7},
publisher = {El Ciervo 96, S.A.},
title = {DIARIO},
volume = {59},
year = {2010}
@inbook{10.2307/j.ctt18fs84x.4,
ISBN = {9780745316697},
URL = {http://www.jstor.org/stable/j.ctt18fs84x.4},
abstract = {What is Third Cinema? Above all the term designates a body of theory and filmmaking practice
committed to social and cultural emancipation. This body of filmmaking is small, indeed tiny in terms of
world cinema output. Yet Third Cinema films are amongst the most exciting and challenging films ever to be
made, their political and cultural significance amplified by their proximity and intervention into the major
historical processes of the epoch. Third Cinema can work with different forms of documentary and across
the range of fictional genres. It challenges both the way cinema is conventionally made (for example, it
has},
author = {Mike Wayne},
booktitle = {Political Film: The Dialectics of Third Cinema},
pages = {5--24},
publisher = {Pluto Press},
title = {Third Cinema as Critical Practice: A Case Study of The Battle of Algiers},
year = {2001}
@inbook{10.3366/j.ctvxcrhsn.15,
ISBN = {9780748612888},
URL = {http://www.jstor.org/stable/10.3366/j.ctvxcrhsn.15},
abstract = {Music clearly means a lot to Quentin Tarantino. It also matters to the characters in his films.
Even when they are not playing music, they like to talk about it, along with fast food, television and the rest
of popular culture. Tarantino himself, as Mr Brown, opens Reservoir Dogs (1995) with a debate about the
meaning of Madonna’s Like a Virgin. In a scene written for Pulp Fiction (1995), but later cut during filming
and replaced with another, Mia asks if Vincent Vega is related to Suzanne Vega ‘the folk singer’; to which
Vincent replies, ‘Suzanne Vega’s my cousin. If},
author = {Ken Garner},
booktitle = {Film Music: Critical Approaches},
pages = {188--205},
title = {‘Would You Like to Hear Some Music?’: Music in-and-out-of-control in the Films of Quentin
Tarantino},
year = {2001}
@inbook{10.2307/j.ctt1npzd3.14,
ISBN = {9780300108934},
URL = {http://www.jstor.org/stable/j.ctt1npzd3.14},
abstract = {“Pin your eyeballs, son, there’s a redskin over that rock yonder!” shouts California Joe to George
Armstrong Custer in the 1942 Warner Brothers filmThey Died with Their Boots On. As Custer’s wife Libby
replies apprehensively with “Indians?” we hear a throbbing tom-tom along with high unison wood-winds
playing a short descending chromatic figure, a figure bookended by the interval of an augmented fourth.
Clearly there is no musical ceremony or drumming taking place offscreen. Instead we see what California
Joe sees: an Indian scout crouching atop a high hill. Before we have much time to interpret this image,
however,},
author = {MICHAEL V. PISANI},
booktitle = {Imagining Native America in Music},

pages = {292--329},
title = {Underscoring Ancestry: Music for Native America in Film},
year = {2005}
@inbook{10.3138/9781442688582.12,
ISBN = {9780802099280},
abstract = {Marco Polo and hisTravelshave been the subject of many adaptations, including numerous films
of the sound era; among these is an aborted film whose script was written by none other than Italo Calvino,
discussed in McLaughlin’s essay in this volume. Many are the genres these adaptations encompass, from
swashbuckling adventure through documentary and historical docudrama, to fantasy, the musical, and
television mini-series, and many are the resultant views of the Venetian traveller and the lands and the
people he encountered. Two overriding views of Polo predominate, however: namely, the
romantic/adventuresome and the historical/cultural. These views, in turn, predetermine},
author = {AMILCARE A. IANNUCCI and JOHN TULK and John Tulk},
booktitle = {Marco Polo and the Encounter of East and West},
pages = {201--244},
title = {From Alterity to Holism: Cinematic Depictions of Marco Polo and His Travels},
year = {2008}
@article{10.2307/24435288,
ISSN = {03940802, 22397205},
number = {143/144},
pages = {93--279},
title = {Indice degli altri nomi},
year = {2011}
@article{10.2307/41125521,
ISSN = {00274801},
number = {3},
pages = {278--292},
title = {Musikwissenschaftliche Vorlesungen an Universitäten und sonstigen Hochschulen mit

Promotionsrecht},
volume = {57},
year = {2004}
@article{10.2307/41125023,
ISSN = {00274801},
number = {1},
pages = {63--75},

Promotionsrecht},
volume = {57},
year = {2004}
@article{10.2307/23510431,
ISSN = {00156191},
journal = {Fontes Artis Musicae},
number = {4},
publisher = {International Association of Music Libraries, Archives, and Documentation Centres (IAML)},
volume = {52},
year = {2005}
@article{10.2307/23993123,
ISSN = {09456945, 21995958},
author = {OTTO PAUL BURKHARDT},
number = {3},
pages = {50--51},
title = {galaktische klänge aus dem ur-chaos: DER KOMPONIST ROLAND KAYN (1933-2011) EIN PIONIER DER
KYBERNETISCHEN MUSIK},
volume = {172},
year = {2011}
@article{10.2307/23989219,
ISSN = {09456945, 21995958},
number = {5},
pages = {4--9},
title = {notizen},
volume = {160},
year = {1999}
@article{10.2307/4420330,
ISSN = {08930279},
journal = {MoMA},
number = {2},
pages = {15--30},
publisher = {Museum of Modern Art},
title = {Film and Video Programs},
volume = {2},
year = {1999}
@article{10.2307/23987302,
ISSN = {09456945, 21995958},
number = {2},
volume = {154},
year = {1993}
@article{10.2307/853613,
ISSN = {02611430, 14740095},
author = {Hilary Lapedis},
journal = {Popular Music},
number = {3},
pages = {367--379},
title = {Popping the Question: The Function and Effect of Popular Music in Cinema},
volume = {18},
year = {1999}
@article{10.2307/3060772,
ISSN = {09681221},
abstract = {The symphonic style of Hollywood film music has become a standard part of the background
music, and some of the instrumental sections of songs, in Hindi films since around 1950. Music is used in
both songs and backing scores to express aspects of drama and narrative, and Hollywood-style symphonic
music and some of its distinctive techniques have become an important part of that expression. This paper
examines some examples of the use of Hollywood-style music in Hindi films and considers what this
phenomenon can tell us about the creation of meaning and affect and the interplay of universal and
culture-specific elements.},
author = {Anna Morcom},
journal = {British Journal of Ethnomusicology},
number = {1},
pages = {63--84},
publisher = {British Forum for Ethnomusicology},
title = {An Understanding between Bollywood and Hollywood? The Meaning of Hollywood-Style Music in
Hindi Films},
volume = {10},
year = {2001}
@article{10.2307/479365,
ISSN = {00213020},
author = {Millicent Marcus},
number = {2},
pages = {233--247},
title = {Caro Diario and the Cinematic Body of Nanni Moretti},
volume = {73},
year = {1996}
@article{10.2307/928488,
ISSN = {00351601},
abstract = {None of the studies on film music published until the present time has examined the
methodological problems involved in the analysis of film scores. In our view there are two main categories
of film music: music dictated by the scene portrayed on the screen and played for or by the protagonists;
and music not directly related to the action. This work focused on those points within this framework given
special attention by film makers and composers. We have developped a system which permits
differenciations between the various types of music accompanying: travel sequences, situations, leisures,
unforeseeable events, and the film credits. Within each category we have further divised subcategories
which permit classifying most film sequences accompanied by music.},
author = {Jean-Rémy Julien},
journal = {Revue de Musicologie},
number = {2},
pages = {179--202},
publisher = {Société Française de Musicologie},
title = {Éléments méthodologiques pour une typologie de la musique de film},
volume = {66},
year = {1980}
@article{10.2307/40934918,
ISSN = {00903779},
author = {PHILIP DUBUISSON CASTILLE},
journal = {Appalachian Journal},
number = {2},
pages = {148--162},
publisher = {Appalachian Journal & Appalachian State University},
title = {Too Odd for California: Incest and West Virginia in James M.
Cain's "The Butterfly"},
volume = {23},
year = {1996}
@article{10.2307/24323753,
ISSN = {00356867, 20365586},
author = {Roberto Giuliani},
number = {1/2},
pages = {539--584},
title = {LE FONTI SONORE E AUDIOVISIVE E LA STORIOGRAFIA CONTEMPORANEA},
volume = {35},
year = {2000}
@article{10.2307/1513383,
ISSN = {09611215, 15314812},
author = {Lukas Ligeti and Diego Luzuriaga and Mark Grimshaw and Eduardo Reck Miranda and Daniel
Wyman and Damián Keller and Aldo Brizzi and Jürgen Bräuninger and Rodrigo Sigal and Bruce Cassidy and
Pops Mohamed and Didier Guigue and Kurt Dahlke},
journal = {Leonardo Music Journal},
pages = {73--79},
title = {Contributors' Notes},
volume = {10},
year = {2000}
@article{10.2307/43452935,
ISSN = {0015119X},
author = {Lawrence O'Toole},
number = {5},
pages = {13--20},
title = {Moving Music},
volume = {17},
year = {1981}
@article{10.2307/40425675,
ISSN = {07433204},
author = {Bette Gordon and Mike Figgis},
journal = {BOMB},
number = {54},
pages = {16--19},
title = {Mike Figgis},
year = {1996}
@article{10.2307/23985459,
ISSN = {09456945, 21995958},
author = {Art Lange and Peter Niklas Wilson and John Zorn},
number = {2},
pages = {33--37},
title = {Der Architekt der Spiele: Gespräch mit John Zorn über seine musikalischen Regelsysteme},
volume = {152},
year = {1991}
@article{10.2307/43754415,
ISSN = {0015119X},
author = {Jonathan Rosenbaum},
number = {5},
pages = {4--70},
title = {LONDON JOURNAL},
volume = {11},
year = {1975}
@inbook{10.7591/j.ctv1nhpc8.24,
ISBN = {9780801488511},
URL = {http://www.jstor.org/stable/10.7591/j.ctv1nhpc8.24},
author = {TOM ZANIELLO},
booktitle = {Working Stiffs, Union Maids, Reds, and Riffraff: An Expanded Guide to Films about Labor},
edition = {REV - Revised, 2},
pages = {324--361},
title = {S},
year = {2003}
@inbook{10.2307/j.ctt80283.6,
ISBN = {9780773510289},
URL = {http://www.jstor.org/stable/j.ctt80283.6},
abstract = {I argued above that Levinas’ employment of resemblance is based on an assumption about the
“ego” and its recognition of itself. During that argument I also made the claim that Levinas’ understanding
of self-identicality was squarely rooted in the priority of language as that which inserts itself between the
“closed society” of the couple and as that which maintains the transcendence of the “ego” and the “other.”
Both these arguments turn around a common centre: recognition. But the question remains: upon what is
recognition based such that “I” could appear to itself and, having done so, could recognize the face},
author = {Eoin S. Thomson},
booktitle = {Distant Relation: Time and Identity in Spanish American Fiction},
pages = {23--72},
publisher = {McGill-Queen's University Press},
title = {Interlude},
year = {2000}
@article{10.2307/23512645,
ISSN = {00156191},
author = {Geraldine E. Ostrove},
number = {4},
pages = {673--762},
title = {RECENT PUBLICATIONS IN MUSIC},
volume = {55},
year = {2008}
@article{10.2307/23510426,
ISSN = {00156191},
number = {4},
pages = {217--310},
volume = {52},
year = {2005}
@article{10.2307/41123742,
ISSN = {00274801},
number = {3},
pages = {287--301},

Promotionsrecht},
volume = {54},
year = {2001}
@article{10.2307/41124421,
ISSN = {00274801},
number = {1},
volume = {54},
year = {2001}
@article{10.2307/24323755,
ISSN = {00356867, 20365586},
number = {1/2},
pages = {627--643},
title = {INDICE DEI NOMI},
volume = {35},
year = {2000}
@article{10.2307/4420498,
ISSN = {08930279},
journal = {MoMA},
number = {6},
pages = {15--30},
title = {Film and Video Exhibitions},
volume = {3},
year = {2000}
@article{10.2307/3108419,
ISSN = {03515796},
number = {2},
pages = {239--259},
volume = {31},
year = {2000}
@article{10.2307/41688094,
ISSN = {00097004},
number = {1/2},
volume = {21},
year = {1995}
@article{10.2307/4381415,
ISSN = {08930279},
journal = {MoMA},
number = {4},
pages = {15--30},
title = {Film and Video Programs},
volume = {1},
year = {1998}
@article{10.2307/23510672,
ISSN = {00156191},
number = {2/4},
volume = {50},
year = {2003}
@article{10.2307/23987512,
ISSN = {09456945, 21995958},
number = {3},
volume = {156},
year = {1995}
@article{10.2307/43029795,
ISSN = {11238615, 20356706},
number = {2},
pages = {457--481},
title = {BOLLETTINO DELL'ASSOCIAZIONE CULTURALE «IL SAGGIATORE MUSICALE» 2004},
volume = {11},
year = {2004}
@article{10.2307/42683355,
ISSN = {00097004},
author = {Alberto Cattini},
number = {2},
pages = {24--25},
reviewed-author = {Ugo Tucci and Elio Petri and Ugo Pirro and Ugo Petri and Luigi Kuveiller and Ennio
Morricone and Gian Maria Volonte and Salvo Randone and Mariangela Melato and Mietta Albertini},
volume = {5},
year = {1972}
@article{10.2307/3108403,
ISSN = {03515796},
abstract = {The claims of various analysts, and actually of the persons involved in the creation of the music
for the old Star Wars trilogy, John Williams and George Lucas, have led the writer of this paper to seek for
links between the operas of Richard Wagner and the music of John Williams for the Star Wars sequence.
The link between the two composers can be seen at first in the use of the leitmotif. Wagner's idea of the
leitmotif, that is of a musical thought that is reiterated throughout the work, linked with some character,
concept, object or idea, frequently appears in film music. But since film composers address the leitmotif
much more simplistically than Wagner, their running motifs are better referred to as film themes.
Nevertheless, John Williams used leitmotifs in the genuine sense of the word. He has come very close to
the practice of Wagner in the various procedures in which he varies and transforms his themes, and in
using the idea of the thematic image (the arch-theme that is the unifying element of the musical material).
However, the similarity of Williams's and Wagner's leitmotifs is greatest in the area of kinship of themes (a
series of new themes or motifs derive from a single motif or theme) on the basis of which both of them
create a web of mutually related leitmotifs. The closeness of the procedures of the two can also be found in
the area of melody, rhythm, form, harmony, instrumentation, and even in the domain of the ratio of the
old and the new in their music. The ultimate objective of Richard Wagner was to create the music drama,
music for the stage based on the old roots of opera, in which all the musical elements were subordinated to
the drama. The ultimate aim of John Williams was to take part in the creation of a film in which his music
would serve to define the film's substance and help all the other elements of it to function property.},
author = {Irena Paulus},
number = {2},
pages = {153--184},
title = {Williams versus Wagner or an Attempt at Linking Musical Epics},
volume = {31},
year = {2000}
@article{10.2307/1225775,
ISSN = {00097101, 15272087},
abstract = {The post-1986 Hong Kong cinema of John Woo is an apocalyptic crisis cinema, an urban vision
forming part of a "legitimation crisis" that involves an aesthetic of political, historical, and cultural density.},
author = {Tony Williams},
number = {2},
pages = {67--84},
title = {Space, Place, and Spectacle: The Crisis Cinema of John Woo},
volume = {36},
year = {1997}
@article{10.2307/303575,
ISSN = {01903659, 15272141},
author = {Marcia Landy},
journal = {boundary 2},
number = {1},
pages = {35--59},
title = {"Which Way Is America?": Americanism and the Italian Western},
volume = {23},
year = {1996}
@article{10.2307/778938,
ISSN = {01622870, 1536013X},
author = {Douglas Kahn},
journal = {October},
pages = {67--78},
title = {Track Organology},
volume = {55},
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ISSN = {01635069, 24714364},
author = {Tony Mitchell},
journal = {Film Criticism},
number = {1},
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publisher = {Allegheny College},
title = {Berlusconi, Italian Television and Recent Italian Cinema: Re-viewing "The Icicle Thief"},
volume = {21},
year = {1996}
@article{10.2307/1212298,
ISSN = {00151386, 15338630},
author = {Robert Burgoyne},
number = {1},
pages = {7--14},
title = {The Somatization of History in Bertolucci's "1900"},
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@article{10.2307/44111814,
ISSN = {03067661, 15597989},
author = {YILMAZ GUNEY and Roy Armes},
journal = {Framework: The Journal of Cinema and Media},
number = {15/17},
pages = {9--11},
publisher = {[Drake Stutesman, Wayne State University Press]},
title = {THE LIMITS OF INDIVIDUAL ACTION},
year = {1981}
@article{10.2307/3770547,
ISSN = {02941759, 19506678},
abstract = {Sans être, au sens strict, le "reflet" de la société, les films de fiction entretiennent un rapport -- à
définir -- avec le réel. Les "mythes policiers du cinéma français" confirment ce postulat. Entre le "flic"
opposé au "milieu" des années 1950 et le justicier abandonné par une hiérarchie corrompue des années
1970, on note un parcours significatif qui témoigne d'un malaise croissant dans une civilisation confrontée à
de nouvelles formes de délinquance et offre de nouveaux modèles sociaux. Vision pessimiste -- mais
renouvelée -- d'une décadence? /// Through the example of the police in French cinema, "popular" films
called will be analyzed as a political myth. The police hero as seen on the screen, from Maigret of the 1930s
to Belmondo of the 1970s and the Ripoux of the 1980s, underscore the change in people's mentalities and
reveal a growing malaise as to the state of society.},
author = {Yannick Dehée},
journal = {Vingtième Siècle. Revue d'histoire},
number = {55},
pages = {82--100},
publisher = {Sciences Po University Press},
title = {Les mythes policiers du cinéma français, des années 1930 aux années 1990},
year = {1997}
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ISSN = {00922102, 1526551X},
author = {Gene Woolsey},
journal = {Interfaces},
number = {4},
pages = {11--15},
publisher = {INFORMS},
title = {The Fifth Column: On Optimum Scheduling, or Beer Trucks, Second Clarinets, and Carls},
volume = {10},
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ISSN = {09456945, 21995958},
author = {enjott schneider},
number = {1},
pages = {19--20},

title = {komponieren für film und fernsehen},
volume = {165},
year = {2004}
@inbook{10.3366/j.ctvxcrs7h.12,
ISBN = {9780748608362},
URL = {http://www.jstor.org/stable/10.3366/j.ctvxcrs7h.12},
abstract = {Pasolini’s poetics can seen as the core of post-modern cinema or its absolute denial, depending
on one’s point of view. One thing is for sure. Pasolini’s vision is antithetical to current discourse, though
closer to Lyotard’s fragmented world of competing language-games than it is to Jameson’s’post-
modern’cinema as a place of pastiche, nostalgia and the triumph of surface over depth. But it goes beyond
the concern with ‘the heterogeneity of culture’ which Dudley Andrew has opposed to ‘the organicism and
moralism of a cinema of quality’.¹ Its free indirect vision means different things in different cultures but is
not amenable to},
author = {John Orr},
booktitle = {Contemporary Cinema},
pages = {162--187},
title = {AMERICAN REVERIES: Altman, Lynch, Malick, Scorsese},
year = {1998}
@inbook{10.2307/j.ctt1zxz098.10,
ISBN = {9781864620474},
URL = {http://www.jstor.org/stable/j.ctt1zxz098.10},
abstract = {Since the late 1960s, Van Dyke Parks (VDP) has explored various facets of Americana
(understood as the elaborated cultural expression of aspects of the socio-cultural history of the U.S.A.) in a
range of solo and collaborative projects. In the early-mid 1970s he complemented and inter-related this
with a series of engagements with the music of the Southern Caribbean. In 1989 his work took a further
turn with the release of an album entitledTokyo Rose. This project deployed a range of musical orientalisms
to produce a complex representation of aspects of U.S.-Japanese relations in the mid-late 20th Century¹
and also},
author = {JON FITZGERALD and PHILIP HAYWARD},
booktitle = {Widening the Horizon: Exoticism in Post-War Popular Music},
pages = {145--167},
title = {MUSICAL TRANSPORT: Van Dyke Parks, Americana and the applied Orientalism of Tokyo Rose},
year = {1999}
@inbook{10.2307/j.ctt7ztjdv.10,
URL = {http://www.jstor.org/stable/j.ctt7ztjdv.10},
abstract = {In contrast to Rossellini’s anti-operatic style and Crocean stance, withSensoVisconti brought
Gramsci to the cinema and returned to opera. Born from a phase of involution within
neorealism,Sensoanticipates the composite style of recent Italian cinema. Visconti invokes the legacy of
fascist cinema with his operatic style. Yet, in line with a neorealist interest in structures of long duration,
Visconti shows that sexual passion destabilizes political identity. It is as if the body erotic were driving a
wedge into history, thus exposing the artificiality of the body politic summoned by opera and by the
popular knowledge of the},
author = {Angela Dalle Vacche},
booktitle = {The Body in the Mirror: Shapes of History in Italian Cinema},
pages = {156--179},
publisher = {Princeton University Press},
title = {The Risorgimento after May 1968},
year = {1992}
@inbook{10.2307/j.ctt80283.8,
ISBN = {9780773510289},
URL = {http://www.jstor.org/stable/j.ctt80283.8},
abstract = {Perhaps the time will never arrive when our common manner of speaking reflects a disavowal of
the voice as the repository of being. And perhaps this refusal signifies, above all else, the unyielding reign of
ontology. However, there are reasons to believe this regime is being challenged by discourses that
desimplify traditional exigencies and propel thought in the direction of the unthinkable - that disturbing
situation in which, or because of which, identity can no longer approach within the confines of a beyond
accessible through language. While I cannot cling to any hard and fast conclusions here, it is nonetheless},
author = {Eoin S. Thomson},
booktitle = {Distant Relation: Time and Identity in Spanish American Fiction},
pages = {95--136},
publisher = {McGill-Queen's University Press},
title = {The Time of the Between},
year = {2000}
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ISSN = {00373222, 15383555},
journal = {Shakespeare Quarterly},
number = {5},
pages = {713--721},
publisher = {[Folger Shakespeare Library, The Shakespeare Association of America, Inc., Johns Hopkins
University Press, George Washington University]},
title = {Othello},
volume = {48},
year = {1997}
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ISSN = {00156191},
number = {2/4},
pages = {197--290},
volume = {50},
year = {2003}
@article{10.2307/23509201,
ISSN = {00156191},
number = {4},
pages = {215--270},
volume = {49},
year = {2002}
@article{10.2307/23509272,
ISSN = {00156191},
number = {3/4},
pages = {286--342},
volume = {46},
year = {1999}
@article{10.2307/27669810,
ISSN = {00274380, 1534150X},
author = {Stephen Yusko and Karen R. Little},
journal = {Notes},
number = {4},
pages = {923--962},
title = {Books Recently Published},
volume = {59},
year = {2003}
@article{10.2307/900566,
ISSN = {00274380, 1534150X},
author = {Stephen Yusko and Karen R. Little},

journal = {Notes},
number = {4},
pages = {865--888},
title = {Books Recently Published},
volume = {58},
year = {2002}
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year = {1994}
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year = {2002}
@article{10.2307/23509284,
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number = {3/4},
volume = {46},
year = {1999}
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number = {1},
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number = {2},
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title = {Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento},
volume = {41},
year = {1987}
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author = {James L. Harner and Priscilla J. Letterman},

number = {5},
pages = {627--1020},
title = {BIBLIOGRAPHY: World Shakespeare Bibliography 2001},
volume = {53},
year = {2002}
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number = {3},
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title = {"1900" BERTOLUCCI'S MARXIST OPERA},
volume = {8},
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number = {4},
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title = {"CINEMA IS NOT FOR AN ELITE BUT FOR THE MASSES": AN INTERVIEW WITH ELIO PETRI},
volume = {6},
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year = {2019}
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number = {5},
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URL = {https://jstor.org/stable/10.2307/community.30229222},
journal = {New View},
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publisher = {Connecticut Correctional Institution, Enfield},
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publisher = {Connecticut Correctional Institution, Enfield},
title = {New View},
volume = {20},
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title = {Index to CD Reviews},
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author = {Paul Cauthen and Mark Palkovic},
journal = {Notes},
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title = {Index to CD Reviews},
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title = {Volume Information},
volume = {52},
year = {1980}
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journal = {Notes},
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title = {Music Received},
volume = {53},
year = {1997}
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year = {1981}
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ISSN = {00274380, 1534150X},
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journal = {Notes},
number = {2},
pages = {462--504},
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year = {1978}
@article{10.2307/44514937,
ISSN = {03927636, 2240967X},
author = {Carla Amici and Maddalena Andreussi and Margherita Cancellieri and Ferdinando Castagnoli and
Anna Laura Cesarano and Giovanni Maria de Rossi and Maria Fenelli and Giovanna Maria Forni and
Giuseppina Ghini and Piero Alfredo Gianfrotta and Cairoli Fulvio Giuliani and Marcello Guaitoli and Paolo
Liverani and Zaccria Mari and Luisa Migliorati and Chiara Morselli and Maria Pia Muzzioli and Fabio
Piccarreta and Paolo Sommella and Edoardo Tortorici and Patrizia Verduchi and Silvia Vilucchi and
Università di Roma I Istituto di Topografia Antica},
number = {2},
pages = {305--476},
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year = {1984}
@article{10.2307/832868,
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Derek Bailey and Harold Budd and Lee Kaplan and Vinny Golea and Elliott Schwartz and Larry Solomon and
Malcolm Goldstein and John Silber and Davey Williams and Pauline Oliveros},
journal = {Perspectives of New Music},
number = {1/2},
pages = {26--111},
publisher = {Perspectives of New Music},
title = {Forum: Improvisation},
volume = {21},
year = {1982}
@article{10.2307/44990256,
ISSN = {00373222, 15383555},
author = {HARRISON T. MESEROLE and JAMES L. HARNER and PRISCILLA J. LETTERMAN and YANWING
LEUNG and JOHN B. SMITH},
number = {5},
pages = {520--1010},
title = {Bibliography: Shakespeare: Annotated World Bibliography for 1990},
volume = {42},
year = {1991}
@article{10.2307/43450586,
ISSN = {0015119X},
author = {Richard T. Jameson},
number = {2},
pages = {8--16},
title = {SOMETHING TO DO WITH DEATH: A Fistful of Sergio Leone},
volume = {9},
year = {1973}
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ISSN = {00097004},
author = {Gary Crowdus},
number = {2},
pages = {47--49},
reviewed-author = {Marina Cicogna and Daniele Senatore and Elio Petri},
volume = {39},
year = {2014}
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ISSN = {00097004, 26419238},
author = {Susan Ryan},
number = {4},
pages = {75--76},
reviewed-author = {Patricia R. Zimmerman and Scott MacDonald},
volume = {44},
year = {2019}
author = {MIKE RUBIN and Tony DeArmond and David M. Shelton and Michael P. Learner and sharma and p
d and k. s. and sharma and r. h. and jakk corsaw and Robert Thomas Horsley and Roger Downey and RD and
Jed Leland and roxie and B. W. F.},
journal = {Helix},
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pages = {1--24},
title = {Helix},
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year = {1970}
author = {Buster Brown and Ken Fireman and Doug Larkins and Bill Rowe and Len Schafer and Marilyn
Werbe},
journal = {Fifth Estate},
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pages = {1--29},
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title = {Fifth Estate},
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year = {1972}
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journal = {Ann Arbor Sun},
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author = {CHRIS VAN NESS and ROGER LOVIN and JOHN C. MAHONEY and JOHN C. MAHONEY},
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number = {676},
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STICKGOLD and KAREN KAYE and PHILLIP GORDON and PHILLIP GORDON and JODY BERRY and PHILLIP
GORDON},
number = {675},
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ALIS LOEWELL and LEE UNDERWOOD and Stann Findelle and Michel Hooker and TODD EVERETT and
MICHAEL FEARN and DAVID ROSTAMO and WALTER ZELMAN and JACK ANDERSON and NICHOLAS VON
HOFFMAN and JACK S MARGOLIS and JERRY GOLDBERG and CHARLES BUKOWSKI and O. R. and W. Q. and
D. D. and R. L. and T. U. and Z. C. and B. J. and L. K. and M. and PAUL KRASSNER and JEANNE CORDOVA and
Jefffillbach and ALICIA SANDOVAL and RALPH NADER and Alis Loewell and Trudy Taylor and Kenneth John
Atchity and Jill White and DICK LOCHTE and SANDY YARAS and Lee Underwood and M C Ford and Del
Porter and Aida Pavietich and KAY and BRANT CORTRIGHT and Barbara Clarichilde and Dudley Knight},
number = {519},
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volume = {11},
year = {1974}
author = {R. W. Dellinger and R. W. D. and Don Strachan and JOHN ROTHCHILD and SUSAN WOLF and
LEONARD BROWN and JOHN LANDIS and LEONARD BROWN and F. Leigh Evans and Charles Finley and
JACOBA ATLAS and MITCH MORRILL and Ruth Batchelor and ART FEIN and TODD EVERETT and CHARLES
FABER and C. F. and CHARLES FABER and Lois Gibson and Kaye and Jerome Tarshis and RICHARD HAAS and
JUDIE LEWELLEN and J. L.},
number = {612},
pages = {1--48},
volume = {13},
year = {1976}
author = {JEFFREY KAYE and Mitch Morrill and Jeanne Cordova and JANE PATRICK and SAM KUSHNER and
Mitch Morrill and R. W. DELLINGER and RODNEY LARSON and DAVID EDWARDS and STEVE LONG and
JEANNE CORDOVA and Jefffillbach and Patrick Ellis and Larry Francis and R. Johnston and BOB FUKUYAMA
and CHARLES VERGETTE and Lanny Waggoner and TIM DEVINE and Harold Bronson and Michael Davis and
LIZA WILLIAMS and ARTHUR STICKGOLD and CHARLES BUKOWSKI and CHARLES TIDLER and Clark Polak and
Clark Polak and CHARLES FABER and BURR JERGER and Ruth Batchelor and Jacoba Atlas and CLAUDIA
ADAMS and KAYE},
number = {591},
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volume = {12},
year = {1975}
author = {TOM THOMPSON and WALTER ZELMAN and CHRIS VAN NESS and ALLAN RINDE and TOM
THOMPSON and Stann Findelle and ALIS LOEWELL and TODD EVERETT and CHRIS VAN NESS and JACK
ANDERSON and RALPH NADER and JACK S MARGOLIS and JEANNE CORDOVA and JERRY GOLDBERG and
JEFF FILLBACH and ALICIA SANDOVAL and NICHOLAS VON HOFFMAN and WALTER ZELMAN and Michael
Davis and Del Porter and M C Ford and DICK LOCHTE and Trudy Taylor and Jeff Nathan and Kenneth John
Atchity and Tom Thompson and Steve Rand and GERALD FRIED and DON RAY and SANDY YARAS and KAY
and Marvin Alisky},
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author = {JACK ANDERSON and RON RIDENOUR and EARL OFARI and ART KUNKIN and HELEN KOBLIN and
GREG SHAW and PETER JAY PHILBIN and DICK LOCHTE and JACK ANDERSON and SAUL-PAUL SIRAG and
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number = {411},
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@article{10.2307/44515147,
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author = {Carla Amici and Flora Ammannato and Maddalena Andreussi and Margherita Cancellieri and
Ferdinando Castagnoli and Anna Laura Cesarano and Bice Colarossi and Lanfranco Cordischi and Lucos
Cozza and Romana de Angelis Bertolotti and Maria Fenelli and Giovanna Maria Forni and Francesca Gerardi
and Piero Alfredo Gianfrotta and Marcello Guaitoli and Claudia Lega and Paolo Liverani and Zaccaria Mari
and Maria Luisa Morricone and Chiara Morselli and Maria Pia Muzzioli and Michela Sediari and Edoardo
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number = {1},
pages = {141--232},
volume = {91},
year = {1986}
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abstract = {Film Music Bibliography 2013 and 2014.},
author = {Robert Kosovsky and Danijela Kulezic-Wilson and Warrren M. Sherk},
number = {1},
pages = {59--61},
title = {Film Music Bibliography 2013/2014},
volume = {9},
year = {2016}
ISSN = {21678464, 19407610},
abstract = {gillian anderson (http://www.gilliananderson.it) is a conductor and musicologist. She has

participated in the restoration and reconstruction of the original orchestral scores written to accompany
over forty of the great “mute” films and has conducted them in synchronization with their projection at
many important film festivals, universities, and performing arts centers with many symphony orchestras,
most recently Modern Times (Chaplin) with the FVG Orchestra in Udine, Nosferatu with the Vancouver
Symphony, Stark Love (Brown, 1928) with Cinemusica Viva NYU at MoMA, and The Birth of a Nation with
the Opera Orchestra of the Teatro Sao Carlos in Lisbon. Her releases include Nosferatu (Murnau, 1921)
BMG Classics, Carmen (DeMille, 1915) Video Artists International, Haexan (Christiansen, 1922), Pandora’s
Box (Pabst, 1928), and Master of the House (Dreyer, 1925) Criterion Films. Her books include Music for
Silent Films 1894–1929: A Guide (Washington, DC, Library of Congress, 1988), which is available online from
the Haithi Trust; and the translation of Ennio Morricone and Sergio Miceli’s Composing for the Cinema
(Scarecrow Press, 2013). Her article “D. W. Griffith’s Intolerance: Revisiting a Reconstructed Text,” has
appeared in Film History, 25, 3. matthew mcdonald ([email protected]) is an associate professor of
music at Northeastern University, where he directs the music theory program and teaches courses in music
theory, music history, and film music. He holds a PhD in music theory from Yale University and is the author
of numerous articles and essays on early modernist music and music in film, including contributions to
Routledge’s Music in the Western and Music, Sound, and Filmmakers. His book, Breaking Time’s Arrow:
Experiment and Expression in the Music of Charles Ives, was published by Indiana University Press (2014).
Currently, he is working on a new book project on music and sound in the films of the Coen brothers. reba
wissner ([email protected]) is an adjunct professor at the John J. Cali School of Music at Montclair
State University, adjunct assistant professor of music history at Westminster Choir College of Rider
University, and an adjunct professor at Berkeley College. She received her MFA and PhD in musicology from
Brandeis University and her BA in music and Italian from Hunter College. Her first book, A Dimension of
Sound: Music in The Twilight Zone,was published by Pendragon Press, and she also serves as the series
editor for their Music and Media series. Currently, she is working on her second book, titled, We Will
Control All That You Hear: The Outer Limits and the Aural Imagination.},
number = {3},
pages = {71--72},
volume = {8},
year = {2015}
ISSN = {21678464, 19407610},
number = {2},
pages = {40--40},

volume = {4},
year = {2011}
@article{10.2307/43456313,
ISSN = {0015119X},
author = {Chris Chang},
number = {6},
pages = {16--16},
title = {Dark Passages},
volume = {41},
year = {2005}
@article{10.2307/20795311,
ISSN = {02101459},
number = {1},
pages = {357--358},
title = {II ENCUENTRO INTERNACIONAL DE MÚSICA DE CINE (Sevilla, 23 al 28 de mayo de 1988)},
volume = {12},
year = {1989}
@article{10.2307/43932589,
ISSN = {00402982, 14782286},
author = {Newton Armstrong},
journal = {Tempo},
number = {267},
pages = {63--65},
title = {'Bold Tendencies': London Contemporary Music Festival, Peckham multi-storey car park, London, 25-
28 July, 1-4 August 2013},
volume = {68},
year = {2014}
ISSN = {21678464, 19407610},
author = {Ron Sadoff and Suzana Peric},
number = {2},
pages = {31--50},
title = {Film Music Editing and Creating a Narrative World: A Conversation
with Suzana Peric},
volume = {14},
year = {2021}
ISSN = {21678464, 19407610},
author = {Felicity Wilcox},
number = {1},
pages = {46--57},
title = {“The Passion That We Don't Understand”: An Interview with Lisa Gerrard},
volume = {14},
year = {2021}
@article{10.2307/24321522,
ISSN = {00356867, 20365586},
author = {Francesco Leprino},
number = {1},
pages = {197--201},
reviewed-author = {Sergio Miceli},
volume = {31},
year = {1996}
@article{10.2307/41126815,
ISSN = {00274801},
number = {3},
pages = {319--320},
reviewed-author = {CHRISTIANE HAUSMANN},
volume = {63},
year = {2010}
@article{10.2307/1003138,
ISSN = {00274666},
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number = {1820},
pages = {646--646},

reviewed-author = {Roger Heaton and Simon Limbrick and Dave Smith and The Mühlfeld Trio},
volume = {135},
year = {1994}
ISBN = {9780748693528},
abstract = {Audio is perhaps the most vital component in the construction of horror films; from the child’s
lullaby in Profondo rosso/Deep Red (Dario Argento, 1975), Bernard Herrmann’s use of stingers in Psycho
(Alfred Hitchcock, 1960), to the musique concrète of The Texas Chainsaw Massacre (Tobe Hooper, 1974),
the canon of great horror films are inextricably tied and indebted to their soundtracks. And yet despite the
importance of this audio-visual synchronicity, Italian horror soundtracks in particular have endured not only
as part of the films they were made to complement, but also independently of them. With Goblin
embarking on their first US},
author = {Craig Hatch},
pages = {175--190},
title = {THE HORROR OF PROGRESSIVE ROCK: GOBLIN AND HORROR SOUNDTRACKS},
year = {2016}
@inbook{10.2307/j.ctv5jxp81.10,
URL = {http://www.jstor.org/stable/j.ctv5jxp81.10},
abstract = {The music featured in Tarantino’s films has, no doubt, contributed to their success. The
soundtracks ofPulp Fiction, Kill Bill Vol. 1, andDjango Unchainedreached no. 20, no. 45, and no. 53 on the
Billboard 200 album chart. Viewers have come to associate songs like “Little Green Bag” (George Baker,
1970), “Misirlou” (Dick Dale and the Del Tones, 1963), “Bang Bang” (Nancy Sinatra, 1966) withReservoir
Dogs, Pulp Fiction, andKill Bill Vol. 1. The soundtracks further encourage this association by including lines
Tarantino and the producers have selected to become “cult,” including Tarantino’s “Madonna Speech”
(Track 8 on},
booktitle = {Quentin Tarantino: Poetics and Politics of Cinematic Metafiction},
pages = {224--243},
title = {“LOOKIN’ BACK ON THE TRACK, GONNA DO IT MY WAY”: The Use of Preexisting Music},
year = {2018}
@inbook{10.2307/j.ctt24hx9s.25,
ISBN = {9781617036637},
URL = {http://www.jstor.org/stable/j.ctt24hx9s.25},
abstract = {This isFresh Air. I’m Terry Gross.My guest Clint Eastwood has directed two films about one of
the bloodiest battles of World War II, the battle of Iwo Jima. The first film,Flags of Our Fathers, showed the
battle from the American point of view and told the story behind the famous Pulitzer Prize–winning photo
of five Marines planting the flag there. Eastwood’s new film,Letters from Iwo Jima, describes the battle
from the perspective of Japanese soldiers. The Japanese soldiers on Iwo Jima were told to expect to die
there, and most of them did. About twenty},
author = {Terry Gross},
booktitle = {Clint Eastwood: Interviews, Revised and Updated},
pages = {206--218},
title = {Eastwood’s Letters from Iwo Jima},
year = {2013}
@inbook{10.2307/j.ctt9qcxw6.11,
ISBN = {9780857454430},
URL = {http://www.jstor.org/stable/j.ctt9qcxw6.11},
abstract = {The first sight we have of Humbert Humbert inLolitais of a blood-stained, spent murderer, still
grasping a hairpin as he drives away from the scene of the crime. If you had never read Nabokov’s novel,
nor seen Kubrick’s 1962 film or Edward Albee’s stage play, you might think that Humbert has just killed
Lolita herself. Such a misconception could well be fostered by Ennio Morricone’s mournful cue and
especially by the first words we hear Irons utter:She was Lo, plain Lo, in the morning, standing four feet ten
in one sock. She was Lola in slacks. She},
author = {Mark Nicholls},
booktitle = {Lost Objects of Desire: The Performances of Jeremy Irons},
edition = {1},
pages = {158--192},
title = {Lolita: The Two Basic Laws of Totemism},
year = {2012}
@inbook{10.5406/j.ctt3fh4n2.10,
ISBN = {9780252037092},
URL = {http://www.jstor.org/stable/10.5406/j.ctt3fh4n2.10},
author = {L. Andrew Cooper},
booktitle = {Dario Argento},
pages = {155--172},
title = {Filmography: Feature Films and Television Directed by Dario Argento},
year = {2012}
@inbook{10.2307/j.ctvjz81jv.8,
ISBN = {9789587461893},
URL = {http://www.jstor.org/stable/j.ctvjz81jv.8},
abstract = {Las consideraciones finales sobre este compendio incluyen cuatro ideas esenciales. La primera
se relaciona con el tema filme-crónica que favorece a GGM y que es donde se siente mejor. Sin lugar a
duda, cuando sus temas para el cine provienen de la vida real, se evidencia el neorrealismo, y ello implica la
crónica por definición y conforme a los criterios del movimiento cinematográfico italiano. Además, el
tratamiento es más directo y poco elíptico, donde a cada personaje, con motivación y profundidad propia,
apela —de pronto— a diálogos expresivos sin giros dramáticos.Segunda —y sin divagaciones—, la escritura
cinematográfica, tanto},
author = {GONZALO RESTREPO SÁNCHEZ},
booktitle = {Gabriel García Márquez y el cine ¿Una buena amistad?},
edition = {1},
pages = {159--166},
publisher = {Editorial Unimagdalena},
title = {Conclusiones},
year = {2019}
ISBN = {9786074624700},
abstract = {Nuestra generación, es decir, la de los italianos que ahora tienen más de 50 años, ha crecido con
losspaghetti western,y en la revolución de 1968, y como muchos héroes de aquellas películas, ha
desarrollado una conciencia política caracterizada por el marxismo, el tercermundismo y la lucha contra el
capitalismo, pero igualmente impregnada por lanouvelle vague,elcine novobrasileño, el amor por el cine
norteamericano clásico, de John Ford a Robert Aldrich, y también por Roberto Rossellini y pier paolo
pasolini. de cierto modo, para muchos de nosotros la época de esos movimientos políticos y culturales fue},
author = {MARCO GIUSTI},
pages = {29--36},
title = {“E ADESSO, IO?”},
year = {2013}
@inbook{10.7312/hunt18281.6,
abstract = {According to Bava expert Tim Lucas,Diabolikwent from being seen as ‘quaintly campy in the
1970s’ to ‘interesting’ in the 1980s, and then fashionable in the 1990s (2007: 754). He attributes this
rediscovery to ‘new trends in lounge music, style and fashion’ (ibid.), an idea supported by the title of a
short piece on the film by Roman Coppola, ‘Lounge Cinema’ (2007). Certainly, the nineties and early
noughties consolidated the cult reputation of the film, even if, as we have seen, it had its critical admirers
from early on. Paramount had evidently taken some persuading to release the film},
pages = {37--55},
title = {‘UH-OH – IT’S GETTING GROOVY!’: THE CULT AFTERLIFE OF DANGER: DIABOLIK},
year = {2018}
@inbook{10.2307/j.ctv111jhp4.45,
ISBN = {9781478000112},
URL = {http://www.jstor.org/stable/j.ctv111jhp4.45},
abstract = {Quiet as it’s kept, the early ’70s were not the dark ages of rock’n’roll. They were its economic
heyday. Pop music is too big to shrivel up artistically overnight, and with the record business booming more
confidently than it ever would again, the magic of venture capital was juicing durable artists of enormous
potential and profitability. Think Joni Mitchell, Randy Newman, Bonnie Raitt, John Prine, Linda Ronstadt, all
creating music of substance as they embarked on long career paths about whose quiddities we are free to
quibble, and all flowering between 1970 and 1975, before punk and disco rendered them},
author = {ROBERT CHRISTGAU},
booktitle = {Book Reports: A Music Critic on His First Love, Which Was Reading},
pages = {194--199},
title = {The Cynic and the Bloke: Rod Stewart’s Rod: The Autobiography and Donald Fagen’s Eminent
Hipsters},
year = {2019}
@inbook{10.2307/j.ctv12102sm.19,
ISBN = {9780822361893},
URL = {http://www.jstor.org/stable/j.ctv12102sm.19},
abstract = {In the Grammy-nominated 64-page booklet that housed L.A. noizepop-punkgaze-and-
multimedia duo No Age’s first-full-album-conceived-as-such Nouns in 2008, pages 12 and 13 were devoted
to somebody’s cassette collection: plenty of metal (Sepultura, Metallica, Iron Maiden, Obituary); rap (Public
Enemy, OutKast, Roots, Kool Moe Dee); punk (Dead Kennedys, Black Flag, Subhumans, Germs); alt and
indie of sundry other stripes (Fugazi, Ned’s Atomic Dustbin, Shudder to Think, several by Public Image Ltd.);
a bit of jazz (Miles, Mingus); plus Spank Rock, 2 Live Jews, The Moishe Dysher Chanuka Party, Howard the
Duck soundtrack, etc. Conspicuously absent, given the legacy of subsuming pretty mopey melodies},
author = {Chuck Eddy},
booktitle = {Terminated for Reasons of Taste: Other Ways to Hear Essential and Inessential Music},
pages = {67--70},
title = {Urinals → No Age},
year = {2016}
@article{10.2307/24615734,
ISSN = {00274666, 23975318},
number = {1924},
volume = {154},
year = {2013}
@article{10.2307/23992937,
ISSN = {09456945, 21995958},

number = {3},
volume = {171},
year = {2010}
@article{10.2307/26849152,
ISSN = {00097004, 26419238},
author = {Cynthia Rowell},
number = {1},
pages = {41--41},
title = {INDEX TO CINEASTE, VOL. XLIV},
volume = {45},
year = {2019}

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Burlingame, Jon, et al. "Music at the Service of the Cinema: An Interview with Ennio Morricone.

Cinéaste. Vol. 44, no. 4, 2019. JSTOR, www.jstor.org/stable/26754294. Accessed 26 Aug. 2021.

Notes. Vol. 58, no. 4, 2002. JSTOR, www.jstor.org/stable/900583. Accessed 26 Aug. 2021.

Tempo. No. 196, 1996. JSTOR, www.jstor.org/stable/944460. Accessed 26 Aug. 2021.

journal = {Bullettino della Commissione Archeologica Comunale di Roma},

publisher = {L’Erma di Bretschneider},

title = {Notiziario bibliografico di Roma e Suburbio, 1981-1984},

ISSN = {21678464, 19407610},

abstract = {Film Music Bibliography 2013 and 2014.},

author = {Robert Kosovsky and Danijela Kulezic-Wilson and Warrren M. Sherk},

journal = {Music and the Moving Image},

publisher = {University of Illinois Press},

title = {Film Music Bibliography 2013/2014},

ISSN = {21678464, 19407610},

abstract = {gillian anderson (http://www.gilliananderson.it) is a conductor and musicologist. She has

journal = {Music and the Moving Image},

publisher = {University of Illinois Press},

title = {About the Authors},

ISSN = {21678464, 19407610},

journal = {Music and the Moving Image},

publisher = {University of Illinois Press},

title = {About the Authors},

author = {Chris Chang},

journal = {Film Comment},

publisher = {Film Society of Lincoln Center},

title = {Dark Passages},

author = {Ana Ma. Vega Toscano},

journal = {Revista de Musicología},

publisher = {Sociedad Española de Musicología (SEDEM)},

title = {II ENCUENTRO INTERNACIONAL DE MÚSICA DE CINE (Sevilla, 23 al 28 de mayo de 1988)},

ISSN = {00402982, 14782286},

author = {Newton Armstrong},

publisher = {Cambridge University Press},

ISSN = {21678464, 19407610},

author = {Ron Sadoff and Suzana Peric},

journal = {Music and the Moving Image},

publisher = {University of Illinois Press},

title = {Film Music Editing and Creating a Narrative World: A Conversation

with Suzana Peric},

ISSN = {21678464, 19407610},

author = {Felicity Wilcox},

journal = {Music and the Moving Image},

publisher = {University of Illinois Press},

ISSN = {00356867, 20365586},

author = {Francesco Leprino},

journal = {Rivista Italiana di Musicologia},

publisher = {[Libreria Musicale Italiana (LIM) Editrice, Società Italiana di Musicologia]},

reviewed-author = {Sergio Miceli},

author = {Stefan Drees},

journal = {Die Musikforschung},

publisher = {[Gesellschaft für Musikforschung e.V., Bärenreiter]},

reviewed-author = {CHRISTIANE HAUSMANN},

author = {David Wright},

journal = {The Musical Times},

publisher = {Musical Times Publications Ltd.},

author = {Craig Hatch},

publisher = {Edinburgh University Press},

title = {THE HORROR OF PROGRESSIVE ROCK: GOBLIN AND HORROR SOUNDTRACKS},

author = {David Roche},

booktitle = {Quentin Tarantino: Poetics and Politics of Cinematic Metafiction},

publisher = {University Press of Mississippi},

author = {Terry Gross},

booktitle = {Clint Eastwood: Interviews, Revised and Updated},