Relevant bibliographies by topics / Movie lyrics

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Movie lyrics'

Author: Grafiati
Published: 2 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Movie lyrics"

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Hassan, Sundus, and Ahmad S. Haider. "Options for subtitling English movie lyrics into Arabic." Studies in Linguistics, Culture, and FLT 12, no. 1 (2024): 82–104. http://dx.doi.org/10.46687/lhtd6033.

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Subtitling lyrics poses a problem regarding conveying the content and the form, which include meaning, rhyme, rhythm, and other musical features. This requires having well-trained professional translators to master the rendering of those features in the target language, bearing in mind the constraints imposed by subtitling as an audio-visual mode. This study examines the Arabic subtitled version of English movie lyrics and explores the translator’s options in rendering their content and form. To this end, sixteen lyrics were extracted from five movies that have been subtitled. The compiled lyr
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Cahyaningrum, Ika Oktaria, and Sulistiana Wandasari. "ANALYSIS OF TRANSLATION TECHNIQUES AND QUALITIES IN TERMS OF ACCURACY AND ACCEPTABILITY IN TRANSLATING FIGURATIVE LANGUAGE IN THE MOVIE SONGS OF CAMP ROCK 2: THE FINAL JAM." English Language and Education Spectrum 3, no. 2 (2023): 61–74. http://dx.doi.org/10.53416/electrum.v3i2.138.

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This research focuses on the analysis of translation techniques applied in translating the figurative language in song lyrics in Camp Rock 2: The Final Jam movie and the translation quality in terms of accuracy and acceptability. This research is descriptive qualitative study. The purposes of the research are (1) to find out the figurative language in song lyrics, (2)to describe the techniques used by the translator in translating the figurative language in song lyrics in Camp Rock 2: The Final Jam movie subtitle into Indonesian, and (3) to find out the quality of the translation in terms of a
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Khaira, Rahmatul, and M. Zaim. "An Analysis of Deixis Used in Soundtrack Lyrics of Barbie Movie." English Language and Literature 13, no. 4 (2024): 1002. https://doi.org/10.24036/ell.v13i4.131176.

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This research aims to find the types and functions of deixis in the lyrics of the Barbie movie soundtrack. Data were collected from the soundtrack's lyrics and analyzed using Huang’s (2007) theoretical framework. The study identified 377 data of deixis, highlighting its crucial role in character development and personal references. Social deixis, with 57 data, and spatial deixis, with 47 data, underscore the significance of social relationships and locational context within the narrative. Temporal deixis, appearing 33 times, delineates the temporal framework of the lyrics. Discourse deixis and
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Lida, Ulfah Mey. "STRUKTURALISME DALAM LIRIK LAGU “NOT LIKE THE MOVIE” KATTY PERY." Disastra: Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, no. 1 (2019): 28. http://dx.doi.org/10.29300/disastra.v1i1.1462.

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The song is a work of art that comes from the relationship of sound and language. The purpose of this research is to know the structuralism in Katty Pery's song "Not Like The Movie" lyrics. This research is a qualitative research with analysis model from Miles and Huberman. The results of this study are Each word used in the lyrics of the song are interconnected with each other (sintagmatic). The paradigmatic chain (vertically) is derived from the word selection association which refers to the relation of meaning between one word to another that can be exchanged. The image of the sound that em
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Patterson, Kathryn, and Carolyn Watters. "Approximate phrase searching: Movie scripts and song lyrics." Proceedings of the American Society for Information Science and Technology 45, no. 1 (2008): 1–14. http://dx.doi.org/10.1002/meet.2008.1450450271.

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Chintia Handayani. "Comparative Stylistic Analysis on Soundtrack Anastasia Selected Songs Lyrics." Formosa Journal of Applied Sciences 2, no. 7 (2023): 1771–82. http://dx.doi.org/10.55927/fjas.v2i7.5331.

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Problem of the research is What Comparative Stylistic Elements are found on selected songs of soundtrack Anastasia movie and What iss Comparative Stylistic meanings used on selected songs of soundtrack Anastasia movie lyrics. The objectives of the research are to find out the existence of Comparative Stylistic Elements that are found on soundtrack Anastasia movie songs. To analyze the comparative stylistic meanings that are used on soundtrack Anastasia movie songs. The researcher found out the data from At the beginning song, there are 3 metaphors, 3 personifications, 2 prelopsis., In the dark
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Syamsu, Ahmad Riwaldi Yahdian, and Sukardi Weda. "ANALYSIS OF FIGURATIVE LANGUAGES IN THE SONGS OF MOVIE “SPIRIT: STALLION OF THE CIMARRON”." ELITERATE : Journal of English Linguistics and Literature Studies 3, no. 1 (2024): 19. https://doi.org/10.26858/eliterate.v3i1.47290.

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This research discusses figurative languages found in the songs of movie “Spirit: Stallion of the Cimarron”. It aims to determine the types of figurative languages in the songs of movie “Spirit: Stallion of the Cimarron” by used theory of figurative language by Abrams (1999) and elaborate the function of each types of figurative languages found based on Perrine’s (1969) theory of the function of figurative language. The research method used in this study is a qualitative descriptive method. The data are taken from lyrics from 11 songs in the movie “Spirit: Stallion of the Cimarron”. The result
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Fauziah, Mita Mar’atul, and Audi Alya Zuhry. "Analisis Makna Leksikal pada Tiga Lirik Lagu Karya Dewi Lestari Dalam Film “Perahu Kertas”." Hasta Wiyata 7, no. 1 (2024): 64–81. http://dx.doi.org/10.21776/ub.hastawiyata.2024.007.01.06.

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This research is titled "Analysis of Lexical Meaning in Three Song Lyrics by Dewi Lestari in the Movie Perahu Kertas." The purpose of this research is to describe the lexical meaning in three song lyrics from the movie Perahu Kertas, namely Perahu Kertas, Tahu Diri, and Langit Amat Indah by Dewi Lestari. This research uses a qualitative descriptive research method. The data in this study are qualitative data in the form of words, phrases, clauses, or sentences in the form of lexical meanings in the three song lyrics from the movie Perahu Kertas. The data source for this research is the discour
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Wijayanti, Sebrina, Zahrida Zahrida, and Mulyadi Mulyadi. "Types of Lexical Cohesion in Song Lyrics of The Greatest Showman Movie Soundtrack Album." Journal of English Education and Teaching 6, no. 2 (2022): 222–34. http://dx.doi.org/10.33369/jeet.6.2.222-234.

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This research aim to finds out types and the most dominant of lexical cohesion used in the song lyrics The Greatest Showman movie soundtrack album. The methodology of this research is descriptive quantitative method. The objects of this research are 5 song lyrics in The Greatest Showman movie soundtrack album namely “A Million Dreams, Never Enough, This Is Me, The Other Side and Rewrite The Stars. The data were collected by using observation sheet and table checklist. The collected data were analyzed by using statistical formula. The result of this research showed that:1. All types of lexical
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Teng, Yue. "Chinese urban emotional Slm — a Taste of life in lyrics." Moscow State University Bulletin. Series 18. Sociology and Political Science 27, no. 3 (2021): 253–60. http://dx.doi.org/10.24290/1029-3736-2021-27-3-253-260.

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The Chinese film industry began in the early twentieth century. Chinese urban emotional film has become more and more popular with the Chinese people in recent years, so urban working youth emotional film also appears more and more often on the screen. An urban emotional film takes the city as a theme, takes urban life as a backdrop, takes urban family, friendship and love as the main clue for plot development, and takes the artistic expression of emotions as the main point of note. The combination of cinema and music is an independent cultural product generated by the film industry. Music pla
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Dissertations / Theses on the topic "Movie lyrics"

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Ranni, Davide. "La produzione di videoclip attraverso le sue trasformazioni economiche, sociali e distributive." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23538/.

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Questo lavoro intende dimostrare in quali modi e tramite quali strumenti la produzione di videoclip sia cambiata nel corso degli anni attraverso le sue trasformazioni nei campi della distribuzione, della legislazione e dei finanziamenti al videoclip. Comprendere cosa voglia dire oggi produrre un videoclip significa constatare come questi tre macro-argomenti abbiano influenzato, secondo diverse sfaccettature, i budget e gli investimenti monetari da parte delle case discografiche. Inoltre, non si vuole dare un giudizio sulla natura stilistica dei videoclip o fare una critica su quelli che stilis
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Chang, Wan-Ling, and 張婉玲. "The Study of Qiong Yao's Lyrical Styles in Her Movies." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/54391190973809673254.

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碩士<br>臺北市立大學<br>中國語文學系碩士在職專班<br>104<br>The Study of Qiong Yao's Lyrical Styles in Her Movies Abstract Miss Qiong Yao's novels, TV series, movies and lyrics have influenced the Mandarin-speaking entertainment industury over half a century. Her lyrics have long been well-loved by many Mandarin-speaking people. What are the characteristics of her lyrics? She has been studying the classic Chinese lyric poetry and literatures since a very young age. What impact does that bring to the composition of her lyrics? That is what this thesis intends to explore. The thesis discusses the lyrics used in many
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Books on the topic "Movie lyrics"

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Condon, Bill. Chicago: [the movie and lyrics]. Newmarket Press, c2003., 2003.

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Philip, French, and Wlaschin Ken, eds. The Faber book of movie verse. Faber and Faber, 1993.

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Marshall, Rob. Chicago: The Movie and Lyrics (Newmarket Pictorial Moviebook). Newmarket Press, 2003.

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Notebooks, Cool. Notebook: Movie Quotes Lyrics Sarcasm Movie Fan Gift 120 Pages, A4 , Lined / Ruled, Diary. Independently Published, 2019.

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Hal Leonard Publishing Corporation (COR). Disney Movie Fun - 2nd Edition Five-Finger Piano Songbook with Lyrics. Leonard Corporation, Hal, 2023.

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Debt Tracker: I Speak in Movie Quotes Song Lyrics and Sarcasm Vintage. Independently Published, 2021.

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Room Grid I Speak in Movie Quotes Song Lyrics and Sarcasm Vintage. Independently Published, 2021.

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Staff, Hal Leonard Corp. Great American Songbook - Movie Songs: Music and Lyrics for 100 Classic Songs. Leonard Corporation, Hal, 2018.

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Saving Tracker: I Speak in Movie Quotes Song Lyrics and Sarcasm Vintage. Independently Published, 2021.

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Staff, Hal Leonard Corp. Great American Songbook - Movie Songs: Music and Lyrics for 100 Classic Songs. Leonard Corporation, Hal, 2018.

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Book chapters on the topic "Movie lyrics"

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Lotterman, Wendy. "Casting Dispersions." In Cultural Inquiry. ICI Berlin Press, 2024. http://dx.doi.org/10.37050/ci-30_08.

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This chapter examines the refusal of privacy in Simone White’s 2016 collection Of Being Dispersed. Writing within the lyric mode, White’s defiantly public subject draws attention to the lyric’s generic proximity to liberalism, in which individuation is a precondition of recognition and race is thus read as an identity rather than the effect of a social process. By comparing White’s book with George Oppen’s 1968 poem ‘Of Being Numerous’, I argue that ‘dispersal’ names the condition of a racialized subject whose individuation is not in the first place given, whereas ‘numerousness’ names an aspir
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Clossey, Luke. "20. Intimacy with Jesus." In Jesus and the Making of the Modern Mind, 1380-1520. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0371.20.

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Three groups of Jesus cultists who made use of both kens to move themselves even closer to him, achieving a kind of intimacy that could become domestic and even sexual. We begin with a group of female mystics, from England to Ethiopia, who cultivated extraordinary marital relationships with Jesus. Second, the participants in the Modern Devotion lived in regulated communities, sometimes involving spiritual nudity and marriage alongside more modest activities like yarn-spinning and prayer. Finally, Hafiz of Shiraz and other Muslim poets (Mahmud Pasha Angelović, Mehmed II, Isa Necati, Qāsim-i Anw
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Propst, Andy. "Turning Back the Clock." In They Made Us Happy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190630935.003.0007.

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Betty Comden and Adolph Green received a summons in May 1949 to California from MGM producer Arthur Freed about a movie he needed them to start writing immediately. The project, which would become Singin’ in the Rain, would contain a host of the songs he had written with Nacio Herb Brown. They balked at the assignment, believing their contract did not require them to pen movies that used songs by other writers (except for a handful, such as Richard Rodgers or Cole Porter). Their agreement with the studio contained no such clause, and so they developed the now iconic scenario about the transiti
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Garber, Michael G. "“I Wonder Who’s Kissing Her Now” and Work-for-Hire." In My Melancholy Baby. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834294.003.0005.

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This is the third of six chapters tracing how waltzes often became performed as duple-meter tunes, inflected with jazz style, via the collective innovation of performance tradition. This chapter focuses on “I Wonder Who’s Kissing Her Now” (1909), written in Chicago by lyricists Will M. Hough and Frank R. Adams, and Harold Orlob—who composed the music, as a work-for-hire for composer-performer Joe E. Howard, and sued for credit decades later. The discussion details the song’s revivals in the swing and rock and roll eras. Analysis of the piece focuses on the emotions of the lyric and the fit bet
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Eller, Jonathan R. "The Prisoner of Gravity." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0005.

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The early 1970s stage and screen projects that distracted Bradbury from short story writing shape the content of chapter four. The ABC Movie of the Week adaptation of his short story “The Screaming Woman” was largely the work of others, resulting in a star-studded film that wandered far away from the original story. Long negotiations with director Sam Peckinpah to film Something Wicked This Way Comes came to naught, as did his attempt to collaborate on a musical stage adaptation of The Wonderful Ice Cream Suit. Chapter four concludes with the success of a refashioned Dandelion Wine musical usi
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Block, Geoffrey. "“A Composer Looks at His Lyricists”." In The Richard Rodgers Reader. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195139549.003.0044.

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Abstract Early in this retrospective on his two durable creative partnerships, Rodgers writes that, despite their enormous differences on many personal and artistic levels, “each was a genius at his craft, and each during our association, was the closest friend I had.” Rodgers succinctly recalls his meeting with Hammerstein (and then Hart) and early collaborations with each, compares their contrasting work methods, and addresses their idiosyncratic creative with two of the giants in the field. So I decided to go to it alone, to write the words as well as the music for my next stage production,
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Ray, Robert B. "You and I”." In The ABCs of Classic Hollywood. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195322910.003.0103.

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Abstract The song that serves to reunite the Smith family is not, in fact, an old tune from the turn-of the century, although it was designed to sound like one. “You and I” appears to have been written expressly for Meet Me in St. Louis by Nacio Herb Brown (music) and producer Arthur Freed (lyrics), the team responsible for “Singin’ in the Rain,” a much older song dating back to 1929. For the movie, Freed himself supplied the singing, dubbing for Leon Ames, who mouths the part. What conceals this substitution? First, the human brain’s inability to retain a sound’s precise timbre ensures that a
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Furia, Philip, and Laurie J. Patterson. "Call Me Irresponsible: Sammy Cahn." In The Poets of Tin Pan Alley, 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190906467.003.0014.

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Abstract This new chapter of The Poets of Tin Pan Alley celebrates the works of lyricist Sammy Cahn. Perhaps one of the songs Cahn is best known for is “Bei Mir Bist Du Schoen” (frequently thought to be “My Beer, Mister Shane”). Cahn wrote the better-known English lyrics for this song, which was originally written in Yiddish, with Saul Chaplin. Working with Jule Styne, Cahn had such hits as “I’ve Heard That Song Before,” “I’ll Walk Alone,” and “Let It Snow! Let It Snow! Let It Snow!” Cahn and Styne because Sinatra’s “house” songwriters, writing many of the songs for his movies.
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Patel, Geeta. "Miraji's Poetics for Queering History." In Pakistan Desires. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027317-007.

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Born in Pakistan, the Urdu modernist poet Miraji began his forays into translation and lyric by scrounging for literary exemplars in Lahore libraries. Among them was the poet Sappho. This chapter turns to Miraji's essay on Sappho, a lyricist whose life and lyric was always on the move to speak about Miraji as a queer Hindustani lyricist-theorist who died in Bombay longing for Pakistan. Over the course of his essay, Miraji began to fold Sappho's voice into his own, asking, in the process, for hamdardī, shared solicitude, rather than veracity as a mode of belonging-knowing. Following his process
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Oade, Stephanie. "Orff’s Narrative-Dramatic Cycle." In Catullus in Twentieth-Century Music. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198918714.003.0008.

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Abstract Chapter 8 considers Carl Orff’s Catulli Carmina from musical and dramatic perspectives. Although Orff’s cycle offered the suggestion of narrative, there were various challenges to overcome in order to create a sense of linear progression through the work. To this end Orff employed dramatic characters, speech, narrative voices, physical action, and stagecraft, in an attempt to move the lyric poems towards a dramatic presentation. The chapter also explores how Orff created a frame construct to objectify the poetry and impose Orffian symbolism on the original text. Although these dramati
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Conference papers on the topic "Movie lyrics"

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"REVEALING HISTORY THROUGH LYRICS: A STUDY ON CONTEMPORARY SELECT LYRICS IN TELUGU MOVIES." In 2nd National Conference on Translation, Language & Literature. ELK Asia Pacific Journals, 2015. http://dx.doi.org/10.16962/elkapj/si.nctll-2015.7.

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