Digitization is disrupting a number of copyright-protected media industries, including books, music, radio, television, and movies. Once information is transformed into digital form, it can be copied ...and distributed at near-zero marginal costs. This change has facilitated piracy in some industries, which in turn has made it difficult for commercial sellers to continue generating the same levels of revenue for bringing products to market in the traditional ways. Yet despite the sharp revenue reductions for recorded music, as well as threats to revenue in some other traditional media industries, other aspects of digitization have had the offsetting effects of reducing the costs of bringing new products to market in music, movies, books, and television. On balance, digitization has increased the number of new products that are created and made available to consumers. Moreover, given the unpredictable nature of product quality, growth in new products has given rise to substantial increases in the quality of the best products. Although there were concerns that consumer welfare from media products would fall, the opposite scenario has emerged—a golden age for consumers who wish to consume media products.
For half a century Alfred Hitchcock created films full of gripping and memorable music. Over his long career he presided over more musical styles than any director in history and ultimately changed ...how we think about film music. This book is the first to fully explore the essential role music played in the movies of Alfred Hitchcock.Based on extensive interviews with composers, writers, and actors, and research in rare archives, Jack Sullivan discusses how Hitchcock used music to influence the atmosphere, characterization, and even storylines of his films. Sullivan examines the director's important relationships with various composers, especially Bernard Herrmann, and tells the stories behind the musical decisions. Covering the whole of the director's career, from the early British works up toFamily Plot, this engaging look at the work of Alfred Hitchcock offers new insight into his achievement and genius and changes the way we watch-and listen-to his movies.
We examine the musical production of four chilean soap operas (teleseries or telenovelas) —Iorana(1998), La fiera (1999), Romané (2000), Pampa Ilu-sión (2001)— produced by Televisión Nacional de ...Chile during what has been called the golden age of soap operas in Chile. Although these produc-tions have been a fertile space for analysis from different perspectives, the musical aspect has been scarcely approached despite the fact that it is a fundamental element an audiovisual proposal. We analyse the production model of telenovelas in the context of the mass culture music indus-try, and the ways that allowed the socio-cultural diversity of Chile at the time to be embraced. To do so, we interviewed members of the creative staff, watched a selection of episodes for each production and listened to the soundtracks of the case studies. The analysis shows how the use of pre-existing songs was a strategy of distancing, creating dramatic worlds of local communities or times far from Chilean-urban culture and, at the same time, articulating a dialogue between the ar-tistic needs and musical codes of the pop culture from the 2000s.
El artículo revisa aspectos de la producción musical de cuatro telenovelas —Iorana (1998), La fiera (1999), Romané (2000), Pampa Ilusión (2001)— producidas por Televisión Nacional de Chile durante la que ha sido denominada como la época dorada de las teleseries en Chile. Si bien estas producciones han sido un espacio fértil de análisis desde distintas perspectivas, el aspecto musical ha sido escasamente abordado a pesar de que es un elemento fundamental en cada propuesta audiovisual. Analizamos el modelo de producción de telenovelas en el contexto de la industria musical de cultura masiva, que enriqueció con códigos que permitieron abarcar la diversidad sociocultural del Chile de la época. Para ello, entrevistamos a integrantes de los equipo creativos, el visionado de una selección de capítulos por cada producción y la escucha de las bandas sonoras de los casos de estudio.
Centred on an eccentric, coffee-loving FBI agent's investigation into the murder of a small town teen queen, Twin Peaks has passed into TV folklore as an instant cult classic series. Part of Twin ...Peaks' charm was its unforgettable soundtrack by Angelo Badalamenti, a longtime musical collaborator of film director and Twin Peaks co-creator David Lynch. Under the guidance of Angelo Badalamenti's beautifully dark sonic palette, Clare Nina Norelli delves deep into the surreal world of Twin Peaks to explain just how oddball TV drama and Badalamenti's atmospheric moodscapes came together.
What Is Hauntology? Fisher, Mark
Film quarterly,
09/2012, Volume:
66, Issue:
1
Journal Article
Peer reviewed
Consideration of the idea of hauntology encompassing Jacques Derrida’s introduction of the term inSpecters of Marx; Fredric Jameson’s analyses of postmodernism andThe Shining; and a British tradition ...of literature, film, and television by such authors as John Akomfrah, Alan Garner, M. R. James, Patrick Keiller, Nigel Kneale, David Peace, and Chris Petit.
The past thirty years of American TV has seen the rise of what television scholar Jason Mittell terms ‘Complex TV’. These are TV series that prioritise narrative complexity, balancing between serial ...and episodic storytelling modes. This article explores the role that music plays in this serialized form, using Ramin Djawadi’s score for Game of Thrones (HBO) as its focus.
This article focuses on BBC Four’s original music programming, considering documentaries which, according to the channel’s commissioning guidelines, ‘take a musicology approach’ to give audiences a ...‘privileged view’ of ‘how the music was made’. It focuses on two case studies:
Tunes for Tyrants: Music and Power with Suzy Klein (2017)
and Being Beethoven (2020). Drawing upon original interviews with key production personnel for each series, this article explores the roles of music scholars in the television production process. It examines how musicologists are engaged with a production, what roles they undertake, and the value of their work for programme makers.
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