The Singing Voice in Contemporary Cinema
Diane Hughes [+–]
Mark Evans [+–]
University of Technology Sydney
This volume focuses on the singing voice in contemporary cinema and considers different contextual formations of singing and how they contribute to narrative, emotional affect and cultural sensitivities.
The singing voice is arguably the most expressive of all musical instruments. This volume celebrates the ways in which singing features in film. This includes the singing voice as healer, as motivator, as entertainer, and as comedic interlude. Whether the singing voice in film is personally expressive, reflexive and distant, or synchronized for entertainment, there is typically interplay between the voice and visual elements. Extending beyond the body of literature on ‘the musical’, the volume is not about musicals per se. Rather, The Singing Voice in Contemporary Cinema discusses the singing voice as a distinct agent that focuses on identity and identification. This book explores the relationship between screen, singing, singer and song; it celebrates the intersection of the singing voice and popular culture. In doing so, the volume will cross multiple disciplines including vocal studies, film studies, film sound studies, and music production (vocal processing).
Series: Genre, Music and Sound
Table of Contents
UK. Her research and teaching interests include sound in screen media, critical production
studies, and production/sound aesthetics in low-budget and art cinema, encompassing
independent, experimental and cult cinema. She has published on film sound in several edited collections and journals including Music, Sound and the Moving Image, The Soundtrack, The Velvet Light Trap, Alphaville, Popular Music and The Palgrave Handbook of Sound Design and Music in Screen Media.
practices and institutions of the nineteenth and twentieth centuries, having published and
spoken about such diverse topics as Franz Liszt, music criticism, television news music,
African-American entertainers in turn-of-the century Vienna and “fascist” Nordic composers during the Third Reich. He has published in the Journal of the American Musicological Society, Journal of the Society for American Music, 19th Century Music Review, Echo, Current Musicology, Hamburger Jahrbuch für Musikwissenschaft and Canadian University Music Review (among others).
University, Canada. Her research area focuses on Canadian advertising history, advertising
regulation, and audiovisual promotional media. She has previously worked and published in
the areas of sound/music in film promotion and television advertising.
Television & Radio School). Her research has been published in journals including Comedy Studies, Celebrity Studies, and Studies in Australasian Cinema. Most recently Penny has published book chapters in Singing Death (2017) and Music in Comedy Television (2017).
Sydney. She also regularly works in the national independent arts press as a journalist and
commentator, including work as the regular contributing editor for Metro magazine, a regular contributor to Critical Studies in Television, and columnist for The Conversation.
the role of technology. This work draws upon his background as a classically-trained
musician, technologist and entrepreneur. His is a past Director of the Music Producers’ Guild
in the UK, and a Senior Fellow of the Higher Education Academy.
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