The Singing Voice in Contemporary Cinema - Diane Hughes

The Singing Voice in Contemporary Cinema - Diane Hughes

Before #MeToo: Hearing Vulnerability

The Singing Voice in Contemporary Cinema - Diane Hughes

Diane Hughes [+-]
Macquarie University
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Diane Hughes is an Associate Professor in Vocal Studies and Music at Macquarie University. She has an extensive background in contemporary popular singing and singing pedagogy. Her work within the industry has involved artist development and recording. Diane's research interests include vocal artistry, emotion and voice, the singer-songwriter, vocal pedagogy, vocal recording, vocal performance and singing in schools. She co-authored The New Music Industries: Disruption and Discovery (2016) with Evans, Morrow and Keith, published by Palgrave Macmillan.
Mark Evans [+-]
University of Technology Sydney
Professor Mark Evans is Head of the School of Communication at the University of Technology Sydney. He is Series Editor for Genre, Music and Sound. Recent books include Sounding Funny: Comedy, Cinema and Music (with Phillip Hayward) and Moves, Movies and Music: The Sound of Dance Films (with Mary Fogarty), and The New Music Industries: Disruption and Discovery (co-authored with Hughes, Morrow and Keith), published by Palgrave Macmillan.


This volume focuses on the singing voice in contemporary cinema from 1945 to the present day, and rather than being restricted to one particular genre, considers how the singing voice has helped define and/or confuse genre classification. Typically heard in song, 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 protagonist, as narrator, as communicator, 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 genre that focuses on the conceptualization and synchronization of the singing voice in the post-War era. It 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).

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Hughes, Diane; Evans, Mark. Before #MeToo: Hearing Vulnerability. The Singing Voice in Contemporary Cinema. Equinox eBooks Publishing, United Kingdom. p. Oct 2020. ISBN 9781781791127. Date accessed: 16 Jul 2020 doi: 10.1558/equinox.35465. Oct 2020

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