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The article presents the author's views on the inclusion of movies and music in making the English curriculum. He shares his experience of becoming an English major due to a perceived connection between film and literature. He started a film course in his school to make his students read works of a film like literature to help them acquire cultural currency. He selected classic films, resulting in more student engagement than traditional novel-centered classes.

The article discusses two Mexican movies the 1961 "Rumbo a Brasilia (No importa mi color)," directed by Mauricio de la Serna, and the 1962 film "Pecado de juventud," also directed by de la Serna. It considers how the musical numbers in the melodramas impact characters' sense of isolation and exclusion. TOpics include sensationalism, narrative, and the role of musical numbers in mid-century Mexican films.

In July 1922, the New York Times reported that the “encouraging little film” Danse Macabre was screening at the Rialto Theater in New York City. Directed by filmmaker Dudley Murphy, it starred dancers Adolph Bolm and Ruth Page in a visual interpretation of Saint-Saëns's Danse Macabre that synchronized perfectly with live performances of the composition. While film scholars have occasionally cited Danse Macabre and Murphy's other shorts from this period as examples of early avant-garde filmmaking in the United States, discussions of the films are mired in misunderstanding. In this article, I use advertisements, reviews, and other archival materials to trace the production, exhibition, and reception of Murphy's Visual Symphony project. These films, I argue, were not Murphy's alone: rather, they were a collaborative endeavor guided as heavily by musician and film exhibitor Hugo Riesenfeld as by Murphy himself. Recast in this way, the Visual Symphony project highlights evolving approaches to sound–image synchronization in the 1920s, the centrality of theater conductors and musicians to filmmaking in this period, and the various ways in which filmmakers, performers, and exhibitors conceptualized the relationship between music and film, and the live and the mediated, in the final decade of the silent era. [ABSTRACT FROM AUTHOR]

An essay is presented on the mysticism and music on films focusing on the Baul philosophy, music and practice, with information on topics including the film project about Baul music titled "Soul Singer," the observational cinema, and Baul singer Bimol Baul.

Cléo de 5 à 7(1962) and L’Une chante, l’autre pas (1976) are two films by Agnès Varda that explore the figure of the chanteuse. In the first film, Cléo is a ‘modern’ chanteuse de variétés of the early 1960s, with her character containing echoes of both Sylvie Vartan and Edith Piaf. Yet, during the film, she sheds her mainstream singer image that is associated with narcissism and manipulation, and transforms her outlook by leaving her career behind. The second film follows Pomme, a young woman who also starts out in popular music in the 1960s, but later finds her calling as a chanteuse engagée for the Women’s Movement of the 1970s. Pomme’s empowerment is directly linked to her engagement with folk-influenced, protest music, which grows stronger as time moves on. This essay reveals Varda’s input into contemporary debates surrounding the female singer in the 1960s and 1970s, and it identifies overlooked aspects of the canonical New Wave film Cléo de 5 à 7, in comparing it to the lesser analysed L’Une chante, l’autre pas. Through close textual analysis of musical styles, lyrics and performance, this paper examines two different portraits of the French female singer in film. [ABSTRACT FROM PUBLISHER]

The academic assessment of the products of the Walt Disney Company is usually highly negative, drawing out their sexist, racist, and mercenary factors. Although such views are not easily denied, their strong ideology often hides how Disney texts actually operate and how their audiences interact with them. This article explores how recorded music is used in the Disney theme parks to condition audience response, finding a middle ground between an ideological view, exploring the part music plays in social control, and a hermeneutic view, seeing how music functions in articulating and enhancing the experiences in which Disney's guests participate. Disney's Imagineers draw on the language of film music to create a wide variety of narrative musical spaces that give guests the impression that they navigate through these carefully staged narratives as protagonists. Film-musicological models show that guests are encouraged to feel that they control the respective spaces, although filtering the model through critical theory will demonstrate that the spaces can actually be seen as controlling them. While critical theory and structuralist hermeneutics might seem at first like strange bedfellows, analyses of both the narratives themselves and of their social effects can usefully reflect each other, together providing a more nuanced view of Walt Disney World's experiential texts than has been presented either in the academy or by Disney itself. [ABSTRACT FROM PUBLISHER]

The article discusses the nature of cinema in relation to U.S. culture. Topics include representations of blackness in films, the representations of images in films, and the relation between form and content in film. The role of time in films in relation to blackness is addressed. The relation of music to film is noted.

Miss Tacuarembó, an Argentinian-Uruguayian co-production released in 2010, proposes a familiar story for Latin American audiences: a girl from a small town wants to success in the big city. Nevertheless, the baroque mise-en-scène of the film directly points to religious, family and show-business institutions through a camp sensibility, strengthening the ludic aspect of formats that are reworked and from which it is nourished, such as video and reality show. Thus, it builds a spectator that may identify him or herself with the main characters and simultaneously understand the operations and contradictions that constituted them as subjects, undoubtedly implying a political perspective on the notions of consume and popular culture. [ABSTRACT FROM AUTHOR]

In several moments of its footage, Salut les cubains (Agnès Varda, 1963) adds to the particularities and characteristic limitations of the films that film photographs another connection, specifically with music. Close analysis of one of the sequences in which this connection takes place is accomplished in order to examine its functioning, reveal its structure, classify the different relations between image and sound along the sequence, and reconsider its relation to a referent bearing in mind the different choices in the film. [ABSTRACT FROM AUTHOR]

An essay is presented on the disappearance of lip-synced song-sequences in New Bollywood cinema. Particular focus is given to two Bollywood films to explain the historiographic agency of song-sequences in new Bollywood cinema, the portmanteau film "Ajeeb Daastaan Hai Yeh" from anthology "Bombay Talkies" and Vishal Bharadwaj's "Haider," an adaptation of William Shakespeare's "Hamlet." The alignment of Bollywood with the global norms of commercial cinema is discussed.

This paper is interested in the way new music redefines old silent films, altering their cultural value and cult status, as well as engaging new audiences. The recent renaissance of silent film has been led by the rediscovery of live music, and has opened up the possibility for silent films being recontextualized and made cult objects through new music by uncompromising musicians who aim to make them into something different. This process has developed apace in recent years due to the fragmenting what were once distinct areas of culture, the expansion of film into venues beyond the cinema, and the possibility of release on DVD. The KTL version ofThe Phantom Carriagevividly illustrates the possibility of the status of music and musicians redefining films as cult objects, altering their sense of cultural value and interest, allowing the rediscovery and renewal of films that are the best part of a century old. [ABSTRACT FROM AUTHOR]

An essay is presented on the era when folk music conveys the condition of cities in Vancouver, British Columbia in the documentary film "City Song." It contends the documentary film's soundtrack depicts the pains endured by the transitioning city and its being a stage in the presentation. It also exposes primary ideological overlaps between the city making and its cinematic representation.

An essay is presented on the incorporation of music in the documentary film "Jazz." It explores the association of American jazz with documentary films in the 1930s. It discusses the common dichotomy of diegetic and non-diegetic music in positioning the music in timeless space through Ben Winters' theories in the film.

The article focuses on the ecocriticism of the National Parks Project in Canada. It explores the association of combined nature documentary aesthetic and musical performance with productive cultural currency. The morally charged impetus of the National Parks Project outside the ecocinema is also discussed.

Once (2007) is described by its director Carney as 'a modern day musical', eschewing the elaborately staged set-pieces associated with the film musical genre in favour of a more intimate style in which the songs arise 'naturalistically'. Depicting the friendship between two musicians towards the end of 'Celtic Tiger'-era Dublin, the film won critical acclaim and commercial success worldwide, confounding expectations of such a low-budget feature, shot cheaply on digital video. The commercial success of Once exemplifies the 'rags-to-riches' heroics of shoestring feature production in the millennial digital era. Yet the narrative of Once is paradoxically uneasy with digital technology and instead articulates what Philip Auslander (and others) term 'rock authenticity', fetishizing the 'live', the 'lo-fi' and the 'acoustic' in music. The overall approach to the sound of the film aspires towards 'liveness', as the use of location sound recording for the song sequences provides a particular textural quality that incorporates background noise and environmental reverberation, or 'materializing sound indices'. This article uses analysis of the construction of sound space and sound-image relations in Once to demonstrate how this formal approach works with the narrative to communicate texturally a particular notion of 'authenticity' and 'liveness' of the film. This will be supplemented with analysis of discourses of authenticity used in the film's publicity. [ABSTRACT FROM AUTHOR]

A criticism of the film "Clueless" written and directed by Amy Heckerling and starring Alicia Silverstone, Brittany Murphy, and Stacey Dash, with a focus on the film's soundtrack, is presented. Topics include Heckerling's synchronization of music and images in the film, an analysis of the use of the songs "Shop," "Miss Brown to You," and "Supermodel" in the film, and the listening tastes of teenagers in the 1990s.

Here I explore the relations between aural production, visuality and being, as they connect to the new identities that are formed through Hong Kong's production of Mandarin Chinese-language music, films and music videos. To explore these issues I focus on the movie Perhaps Love (Ruguo Ai) [P. Chan 2005] and YouTube music videos relating to that film. Hong Kong has a long-standing historical symbiosis between its music and movie industries. Perhaps Love includes a range of cultural metaphors that include Buddhist allegory as well as the interplay of cultural understandings of gender and geographical space. Seeing Hong Kong productions is both a form of knowing and of creative appropriation—for the movie makers, for the audience, and for fans who create their own narratives with the new tools that are available to them. [ABSTRACT FROM AUTHOR]

Musicals are currently used as mechanism of attraction and persuasion. The musical commercials feature iconic attributes and codes related to the musical film genre. But although the main references of the musicals, as well as their uses, are usually kept in commercials, the semiotic interpretation and structure vary considerably with respect to films. These modifications are due to the influence of parameters such as the duration, the purpose, the form of reception, the origin of the script and its structure. A qualitative comparison between musical film and musical commercials is to argue this difference of interpretation. [ABSTRACT FROM AUTHOR]

The role of Hollywood films in holding up a mirror--albeit sometimes a distorted one--to the American public is indisputable. Less discussed is their role in bringing a wide range of music--popular, classical, jazz, avant-garde, ethnic--to an unsuspecting audience. Whether the music is in the foreground, as in biographical movies about composers, for example, or in the background supporting the narrative, watching a movie educates the viewers' ears. Indeed, the role of movies in widening the public's aural palate has parallels with the role of art museums in broadening the public's visual taste. To supply the music needed for movies, Hollywood studios have employed a large number of composers of the most varied backgrounds, taking on a significant function as patron of contemporary music. This essay briefly examines some of the varied interactions of movies, music, and the public. [ABSTRACT FROM AUTHOR]

The author discusses the effect of changes to music distribution in the 21st century on the job description and prestige of television music supervisors such as Alexandra Patsavas, who started the music label Chop Shop after her success working on the show "The O.C." Revenue for bands from film and television licensing, U.S. music publishing, and branding are discussed, as well as music industry workers such as supervisor Maureen Crowe, label executive Gil Goldberg, and rock band Bon Jovi.

The article focuses on the music used in the two adaptations of the book "Mildred Pierce," by James M. Cain, the 1945 film directed by Michael Curtiz and the 2011 Home Box Office (HBO) television miniseries directed by Todd Haynes. The author discusses the score of the 1945 film by composer Max Steiner, the original and preexisting music used by music supervisor Carter Burwell in the 2011 miniseries, and how the music impacted each adaptation.

The article provides a critical analysis of cognitivist film music theory. The author discusses the relationship between film music and emotions through a cognitive-psychological standpoint, compares several aspects of film theory and cognitive theory, and explores the limitations of applying scientific methods to understand filmmaking.

Music is a kind of art growing abreast with movie, and helps it go a better way. The art containing in music plays a critical role in promoting the development of movie including the plot as well as sensory affection. In the movie of "Memories of Matsuko", the director applied a way of flashback from multiple angles, integrating as well as counterpoising picture and music, and the thematic music intertwining with component elements of music and patterns of presentation such as objective music and subjective music that penetrates the whole movie, which in totality moulds an atmosphere like in fairy tale and poses a pierce contrast to protagonist's miserable plight so that it triggers a new recognition towards movie. [ABSTRACT FROM AUTHOR]