As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambient noise affect identity formation and subjectivity. Lowering the Boom also analyzes how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterized by a distinct break from the narratively based sound practices of mainstream cinema. This interdisciplinary, global approach to the theory and history of film sound opens the eyes and ears of film scholars, practitioners, and students to film's true audio-visual nature.
Contributors are Jay Beck, John Belton, Clark Farmer, Paul Grainge, Tony Grajeda, David T. Johnson, Anahid Kassabian, David Laderman, James Lastra, Arnt Maasø, Matthew Malsky, Barry Mauer, Robert Miklitsch, Nancy Newman, Melissa Ragona, Petr Szczepanik, Paul Théberge, and Debra White-Stanley.
Contributors. Elizabeth Jane Bellamy, Teresa Brennan, Rosaria Champagne, Stathis Gourgouris, Catherine Liu, Kathleen McHugh, Robert Miklitsch, Abdul-Karim Mustapha, Laurence A. Rickels, Eugene Victor Wolfenstein, Slavoj Zizek
Mixing scholarship with a fan's devotion to the crooked roads of critique, Miklitsch autopsies marquee films like D.O.A., Niagara, and Kiss Me Deadly plus a number of lesser-known classics. Throughout, he addresses the social and technological factors that dealt deuce after deuce to the genre--its celebrated style threatened by new media and technologies such as TV and 3-D, color and widescreen, its born losers replaced like zombies by All-American heroes, the nation rocked by the red menace and nightmares of nuclear annihilation. But against all odds, the author argues, inventive filmmakers continued to make formally daring and socially compelling pictures that remain surprisingly, startlingly alive.
Cutting-edge and entertaining, The Red and the Black reconsiders a lost period in the history of American movies.
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