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Celluloid jukebox : popular music and movies since the 50s
0 references·16 citing·33 second hop
Celluloid jukebox : popular music and movies since the 50s (1995)Celluloid jukebox : popular music and mov…The Musical Idea Work Group: Production and Reception of Pre-existing Music in Film (2022)The Musical Idea Work Group: …The Cambridge Companion to Film Music (2016)The Cambridge Companion to Fi…Materializing Film Music (2016)Materializing Film MusicThe Bonding of a Band and a Brand: On Music Placement in Television Commercials from a Text Analytical Perspective (2013)The Bonding of a Band and a B…It’s a sin […] using Ludwig van like that. He did no harm to anyone, Beethoven just wrote music’: The Role of the Incongruent Soundtrack in the Representation of the Cinematic Criminal (2012)It’s a sin […] using Ludwig v…Remembering Popular Music, Documentary Style (2011)Remembering Popular Music, Do…‘Same old song’: on audio-visual style in the films of Wes Anderson (2011)‘Same old song’: on audio-vis…Crossover: Sam Katzman'sSwitchblade Calypso Bop Reefer Madness Swamp Girlor ‘Bad Jazz,’ calypso, beatniks and rock 'n' roll in 1950s teenpix (2010)Crossover: Sam Katzman'sSwitc…The Girl and the Phonograph; or the Vamp and the Machine Revisited (2001)The Girl and the Phonograph; …Surreal Symphonies (2001)Surreal SymphoniesPopular Songs and Comic Allusion in Contemporary Cinema (2001)Popular Songs and Comic Allus…Picturizing American Cinema (2001)Picturizing American CinemaMusic as Ethnic Marker in Film (2001)Music as Ethnic Marker in FilmCrossing Musical Borders (2001)Crossing Musical BordersCinema and Popular Song (2001)Cinema and Popular SongPopping the question: the function and effect of popular music in cinema (1999)Popping the question: the fun…Unheard melodies: narrative film music (1988)Overtones and Undertones (1994)Overtones and Undertones: Reading Film Music (1994)From Cautionary Chart-Topper to Friendly Beverage Anthem: Michael Jackson's “Billie Jean” and Pepsi's “Choice of a New Generation” Television Campaign (2015)The sounds of commerce: marketing popular film music (1999)Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music (2000)The Andersonian, the Quirky, and “Innocence” (2014)Wes Anderson’s ambivalent film style: the relation betweenmise-en-scèneand emotion (2016)Cine, fotografía y arquitectura: la composición simétrica y la noción de arquitecturización en la obra de Wes Anderson. Antecedentes visuales de la película La crónica francesa (2022)Emotion and Meaning in Music (1957)Audio-vision: sound on screen (1994)Analysing Musical Multimedia (1998)Story and Discourse: Narrative Structure in Fiction and Film (1979)Postmodernism, or, The Cultural Logic of Late Capitalism (1992)Sound Design is the New Score (2019)Dialectic of Enlightenment (2020)Postmodernism, or, The cultural logic of late capitalism (1991)Dialectic of Enlightenment, 2011 (2011)The Cambridge Companion to Wagner's Der Ring des Nibelungen (2020)Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006) (2021)Korngold in America (2025)The Standard Edition of the Complete Psychological Works of Sigmund Freud (1953)Imagined Communities: Reflections on the Origin and Spread of Nationalism (1984)The Black Atlantic: Modernity and Double Consciousness (1994)Wet Dreams: Erotic Film Festivals of the Early 1970s and the Utopian Sexual Public Sphere (2006)As if History was Merely a Record : The pathology of nostalgia and the figure of the recording in contemporary popular cinema (2008)Frame Analysis: An Essay on the Organization of Experience. (1975)Consumer Authentication of Popular Music in the Global Postmodern (2013)“Dumb” Performance as a Marker of Authenticity (2018)Pop Go the Warner Bros., et al.: Marketing Film Songs during the Coming of Sound (2008)MUSIC VIDEO AND SYNAESTHETIC POSSIBILITY (2007)PARADOXES OF PASTICHE: (2007)The End is Nigh (2014)
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Cited by

  • 2016The Cambridge Companion to Film Music43 cited
  • 2001Popular Songs and Comic Allusion in Contemporary Cinema32 cited
  • 2001The Girl and the Phonograph; or the Vamp and the Machine Revisited31 cited
  • 2016Materializing Film Music26 cited
  • 1999Popping the question: the function and effect of popular music in cinema21 cited
  • 2001Cinema and Popular Song16 cited
  • 2011‘Same old song’: on audio-visual style in the films of Wes Anderson13 cited
  • 2001Music as Ethnic Marker in Film9 cited
  • 2001Picturizing American Cinema9 cited
  • 2012It’s a sin […] using Ludwig van like that. He did no harm to anyone, Beethoven just wrote music’: The Role of the Incongruent Soundtrack in the Representation of the Cinematic Criminal7 cited
  • 2013The Bonding of a Band and a Brand: On Music Placement in Television Commercials from a Text Analytical Perspective6 cited
  • 2022The Musical Idea Work Group: Production and Reception of Pre-existing Music in Film6 cited
  • 2001Crossing Musical Borders5 cited
  • 2010Crossover: Sam Katzman'sSwitchblade Calypso Bop Reefer Madness Swamp Girlor ‘Bad Jazz,’ calypso, beatniks and rock 'n' roll in 1950s teenpix4 cited

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  • 2011Remembering Popular Music, Documentary Style4 cited
  • 2001Surreal Symphonies4 cited