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Relevant bibliographies by topics / Music documentaries

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Journal articles

Academic literature on the topic 'Music documentaries'

Author: Grafiati

Published: 6 October 2023

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Journal articles on the topic "Music documentaries"

1

Poulakis, Nick, and Christina Stamatatou. "Music, Documentaries and Globalization." Popular Music Research Today: Revista Online de Divulgación Musicológica 4, no. 2 (2023): 7–21. http://dx.doi.org/10.14201/pmrt.30166.

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This paper deals with the relationship between sound and image as expressed in the cinematic genre of music documentary. In particular, it tries to explore the way in which musical cultures are audiovisually expressed through filmic representation of music performances and artists/groups portraits. By applying a critical and comparative approach, the films Buena Vista Social Club (1999) and Café de los Maestros (2008) become vehicles to investigate images and sounds of music in everyday life, with an emphasis on the impact of globalization and commercialization during their creation and interp

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2

Pascual, Cristian. "Programming Brazilian music for a global film audience." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 139–45. http://dx.doi.org/10.33178/alpha.19.11.

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Music is one of the most cherished topics in Brazilian documentary filmmaking. Vinicius (Miguel Faria Jr., 2005), Raul: O início, o fim e o meio (Raul: The Beginning, the End and the Middle, Walter Carvalho, 2012) and Chico: Artista brasileiro (Chico: Brazilian Artist, Miguel Faria Jr., 2015) feature among the most successful Brazilian documentaries from the last twenty years, which makes clear their appeal to national audiences. However, to better articulate their significance it is also crucial to understand them from an international context. The In-Edit – International Music Documentary Fi

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3

O'Grady, Pat. "Making mirrors, making albums and making documentaries: the music of Gotye and negotiating Bourdieu's field of cultural production." Popular Music 39, no. 3-4 (2020): 669–84. http://dx.doi.org/10.1017/s026114302000046x.

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AbstractRecent popular music and film studies have revealed the political functions of documentaries about musicians. These studies suggest that such documentaries make powerful interventions into the field of music production as they construct the value of their subjects and their work. Owing to the expense and complexity of broadcast equipment, production companies have tended to favour documentaries about artists and work considered to be popular and historically significant. Over the past 15 years, however, new technologies have allowed musicians to make documentaries themselves, which the

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4

Gregory, D. G., and L. F. Gooding. "Music Therapy Online Documentaries: A Descriptive Analysis." Music Therapy Perspectives 30, no. 2 (2012): 183–87. http://dx.doi.org/10.1093/mtp/30.2.183.

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5

Nairn, Angelique. "The me you see: The creative identity as constructed in music documentaries." Australasian Journal of Popular Culture 11, no. 1 (2022): 9–26. http://dx.doi.org/10.1386/ajpc_00048_1.

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Stereotypically, creative people are considered intelligent, immature, demanding, aware, receptive, autonomous, flexible, introverted, self-confident, unconventional and asocial. They are driven by a desire to create, peer acceptance and, to an extent, commercial gain. They negotiate their creative persona by seeking validation from others. Accordingly, creative people are active agents in the negotiation of their identities, and they can communicate their attitudes and feelings towards their work through the stories depicted in documentaries. Netflix has released several documentaries capturi

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6

MATTHEWS, HARRIET. "Persuasion, Representation, and Emotional Heightening." Music, Sound, and the Moving Image 15, no. 1 (2021): 71–93. http://dx.doi.org/10.3828/msmi.2021.4.

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Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-mu

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7

Huber, Alison. "Remembering Popular Music, Documentary Style." Television & New Media 12, no. 6 (2011): 513–30. http://dx.doi.org/10.1177/1527476411400838.

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Over the past forty years, a growing number of television documentaries have attempted to produce a history of Anglo-American popular music for a wide audience. This article represents an attempt to come to terms with the particularity of the popular music documentary form and the different ways in which these documentaries present themselves as authoritative public texts that circulate understandings about popular music’s past. The argument is inspired by the landmark mid-1970s installment in this tradition: Tony Palmer’s epic seventeen-part narrative, All You Need Is Love. While this series

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8

Tatit, Luiz. "Transforming Brazilian speech into popular song." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 132–38. http://dx.doi.org/10.33178/alpha.19.10.

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In this interview, Luiz Tatit explores some specificities of Brazilian popular song which may explain the considerable success of music documentaries in the country. Such specificities include the connection between popular song and daily speech, its ties with Brazilian national identity and its complex relationship with foreign music styles.

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9

Stutterheim, Kerstin. "Music as an Element of Narration in Poetic Documentaries." New Soundtrack 8, no. 2 (2018): 103–17. http://dx.doi.org/10.3366/sound.2018.0124.

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10

Jaki, Sylvia. "This is simplified to the point of banality." Journal für Medienlinguistik 4, no. 1 (2021): 54–87. http://dx.doi.org/10.21248/jfml.2021.36.

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This study offers a contribution to the reception analysis of TV documentaries by focusing on viewer opinions expressed on social media. It analyses German and English comments from YouTube and Facebook in order to find out what aspects of documentaries the audience comments on. More specifically, it describes how the viewers evaluate strategies that the producers use for simplifying complex content while still creating an appealing and entertaining media product. The results imply that most viewers appreciate informative shows that are entertaining at the same time. They also show that view

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