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03801aam a2200373 i 4500 001 2F0D4F1A6B5711E69AFE1DDBDAD10320 003 SILO 005 20160826010517 008 140630s2015 enkag bq 001 0 eng 010 $a 2014016766 020 $a 0199896305 (hbk. : alk. paper) 020 $a 9780199896301 (hbk. : alk. paper) 020 $a 0199896321 (pbk. : alk. paper) 020 $a 9780199896325 (pbk. : alk. paper) 035 $a (OCoLC)882620100 040 $a DLC $b eng $e rda $c DLC $d YDX $d BDX $d BTCTA $d YDXCP $d OCLCF $d VVC $d YUS $d NLE $d STF $d CDX $d Y9H $d IWA $d SILO 042 $a pcc 050 00 $a PN1995.7 W36 2015 100 1 $a Walker, Elsie M., $d 1975- $e author. 245 10 $a Understanding sound tracks through film theory / $c Elsie Walker. 264 1 $a Oxford ; $b Oxford University Press, $c [2015] 300 $a ix, 435 pages : $b illustrations, music ; $c 27 cm 504 $a Includes bibliographical references and index. 504 $a Includes filmography. 505 0 $a Genre studies. Introduction: "A semantic/syntactic approach to film genre" by Rick Altman ; The searchers ; Dead man -- Postcolonialism. Introduction: "Colonialism, racism, and representation: an introduction" by Robert Stam and Louise Spence ; Rabbit-proof fence ; Ten canoes -- Feminism. Introduction: "Visual pleasure and narrative cinema" by Laura Mulvey ; To have and have not ; The piano -- Psychoanalysis. Introduction: "Looking for the gaze: Lacanian film theory and its vicissitudes" by Todd McGowan ; Bigger than life ; Shutter island -- Queer theory. Introduction: "Imitation and gender insubordination" by Judith Butler ; Rebecca ; Heavenly creatures. 520 $a Understanding Sound Tracks Through Film Theory breaks new ground by redirecting the arguments of foundational texts within film theory to film sound tracks. Walker includes sustained analyses of particular films according to a range of theoretical approaches: psychoanalysis, feminism, genre studies, post-colonialism, and queer theory. The films come from disparate temporal and industrial contexts: from Classical Hollywood Gothic melodrama (Rebecca) to contemporary, critically-acclaimed science fiction (Gravity). Along with sound tracks from canonical American films including The Searchers and To Have and Have Not, Walker analyzes independent Australasian films: examples include Heavenly Creatures, a New Zealand film that uses music to empower its queer female protagonists; and Ten Canoes, the first Australian feature film with a script entirely in Aboriginal languages. Understanding Sound Tracks Through Film Theory thus not only calls new attention to the significance of sound tracks, but also focuses on the sonic power of characters representing those whose voices have all too often been drowned out. Understanding Sound Tracks Through Film Theory is both rigorous and accessible to all students and scholars with a grasp of cinematic and musical structures. Moreover, the book brings together film studies, musicology, history, politics, and culture and therefore resonates across the liberal arts. - Elsie Walker is Associate Professor of Film Studies at Salisbury University, Maryland. She has taught film in three countries (New Zealand and England, as well as the United States) and she has published many articles on film, sound tracks, and adaptations of Shakespeare. She co-edited Conversations With Directors (2008), and she is coeditor-in-chief of Literature/Film Quarterly. 650 0 $a Sound in motion pictures. 650 0 $a Sound motion pictures. 650 0 $a Motion pictures $x Aesthetics. 650 0 $a Motion pictures $x Sound effects. 941 $a 1 952 $l USUX851 $d 20170706044913.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=2F0D4F1A6B5711E69AFE1DDBDAD10320 994 $a C0 $b IWAInitiate Another SILO Locator Search