DOS NUEVOS OXFORD HANDBOOK DE CINE Y MUSICA

THE OXFORD HANDBOOK OF JAPANESE CINEMA

Daisuke Miyao (University of Oregon, USA) – Editor

Oxford, Reino Unido. OXFORD University Press. ISBN. 9780199731664. Enero de 2014. 496 págs. Encuadernado.

 

PVP EUR 139,00 (4% IVA incluido)

 

Este nuevo Oxford Handbook ofrece una visión en un único volumen sobre el cine japonés. Trata los asuntos de producción, estudia en qué situación está ahora mismo y cuál es el estado de los estudios sobre cine en ese país.

En este tiempo de globalización, la cultura más específica y local ha sufrido muchos altibajos, pero el cine en Japón sigue siendo un valor que va mucho más allá de lo meramente cultural.

En el índice que pueden ver aquí abajo, se puede comprobar la calidad de los artículos y el nombre de los propios autores de los mismos.

 

Extracto del índice:

Introduction

Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema Studies

Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film Studies (Eric Cazdyn)

Chapter 2: Triangulating Japanese Film Style (Ben Singer)

Chapter 3: Critical Reception: Historical Conceptions of Japanese Film Criticism (Aaron Gerow)

Chapter 4: Creating the Audience: Cinema as Popular Recreation and Social Education in Modern Japan (Hideaki Fujiki)

Part 2: What Is Japanese Cinema?: Japanese Cinema and the Transnational Network

Chapter 5 Adaptation As “Transcultural Mimesis” (Michael Raine)

Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in Japanese Cinema (Chika Kinoshita)

Chapter 7 Nationalizing Madame Butterfly: The Formation of Female Stars in Japanese Cinema (Daisuke Miyao)

Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film Spectatorship, and the Formation of National Cinema in Korea under Japanese Colonial Rule (Dong Hoon Kim)

Chapter 9 Outpost of Hybridity: Paramount’s Campaign in Japan, 1952-1962 (Hiroshi Kitamura)

Chapter 10 Erasing China in Japan’s “Hong Kong Films” (Kwai Cheung Lo)

Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia and Japan’s Re-entrance to the Regional Film Industry in the 1950s (Sang Joon Lee)

Chapter 12 Yamagata – Asia – Europe: International Film Festival Short-Circuit (Abé Mark Nornes)

Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial Practices

Chapter 13 Nitrate Film Production in Japan: a Historical Background of the Early Days (Okada Hidenori – Translated by Ayako Saito)

Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa Shuhei)

Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its Contexts (Yamamoto Ichiro – Translated by Diane Wei Lewis)

Chapter 16 Occupation and Memory: the Representation of Woman’s Body in Postwar Japanese Cinema (Ayako Saito)

Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961) (Mitsuyo Wada-Marciano)

Chapter 18 By Other Hands: Environment and Apparatus in 1960s Intermedia (Myriam Sas)

Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas)

Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric Economy of World (Alexander Zahlten)

 

 

THE OXFORD HANDBOOK OF FILM MUSIC STUDIES

David Neumeyer (The University of Texas at Austin, USA) – Editor

Oxford, Reino Unido. OXFORD University Press. ISBN. 9780195328493. Enero de 2014. 672 págs. Encuadernado.

 

PVP EUR 139,00 (4% IVA incluido)

 

Recoge nuevos ensayos sobre los estudios de cine, la musicología, la teoría musical y la ciencia cognitiva, con más de 100 ilustraciones para mostrar mejos los conceptos y las películas de las que habla.

Es un texto que trata la teoría y la práctica, con numeros ejemplos y con una visión global sobre el género como plataforma y como forma de expresión no hablada ni escrita.

 

Extracto del índice:

1. Overview. David Neumeyer

PART 1: Film Music : Central Questions

2. Music and the Ontology of the Sound Film: The Classical Hollywood System. James Buhler and David Neumeyer

3. Opera and Film. Marcia Citron

4. Visual Representation of Film Sound as Analytical Tool. Rick Altman

5. Film Music from the Perspective of Cognitive Science. Annabel Cohen

6. Composing for Film: Hanns Eisler’s Lifelong Film-Music Project. Peter Schweinhardt and Johannes C. Gall, translated by Oliver Dahin

7. Ontological, Formal, and Critical Theories of Film Music and Sound. James Buhler

PART 2: Genre and Platform

8. Drawing a New Narrative for Cartoon Music. Daniel Goldmark

9. Genre Theory and the Film Musical. Cari McDonnell

10. “The Tunes They are a-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film. Jeff Smith

11. The Compilation Soundtrack from the 1960s to the Present. Julie Hubbert

12. The Origins of Musical Style in Video Games, 1977-1983. Neil Lerner

PART 3: Interpretative Theory & Practice

13. Classical Music, Virtual Bodies, Narrative Film. Lawrence Kramer

14. Gender, Sexuality, and the Soundtrack. James Buhler

15. Psychoanalysis, Apparatus Theory, and Subjectivity. James Buhler

16. Case Studies: Introduction. Robynn Stilwell

17. (Case Study 1) The Order of Sanctity: Sound, Sight, and Suasion in DeMille’s The Ten Commandments. Mitchell Morris

18. (Case Study 2) Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam’s 12 Monkeys. Julie McQuinn

PART 4: Contemporary Approaches to Analysis

19. Transformational Theory and the Analysis of Film Music. Scott Murphy

20. Listening in Film: Music/Film Temporality, Materiality and Memory. Marianne Kielian-Gilbert

21. Auteurship and Agency in Television Music. Ronald Rodman

PART 5: Historical Issues

22. When the Music Surges: Melodrama and the Nineteenth-Century Theatrical Precedents for Film Music Style and Placement. Michael Pisani

23. Audio-Visual Palimpsests: Resynchronizing Silent Films with “Special” Music. Julie Brown

24. Performance Practices and Music in Early Cinema outside Hollywood. Kathryn Kalinak

25. Performing Prestige: American Cinema Orchestras, 1910-1958. Nathan Platte

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