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1
Kobal, John. Gotta sing, gotta dance: A history of movie musicals. London: Spring Books, 1988.
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2
1957-, MacGillivray Scott, and Okuda Ted 1953-, eds. The Soundies Distributing Corporation of America: A history and filmography of their "jukebox" musical films of the 1940s. Jefferson, N.C: McFarland & Co., 1991.
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Lamar, Kendrick. Good kid, M.A.A.D. city: A short film. Santa Monica, CA: Interscope Records, 2013.
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4
Kalinak, Kathryn Marie. Film music: A very short introduction. New York: Oxford University Press, 2010.
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5
Kalinak, Kathryn Marie. Film music: A very short introduction. New York: Oxford University Press, 2010.
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7
Stevens, E. Charlotte. Fanvids. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865.
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Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?
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Okuda, Ted, and Scott MacGillivray. The Soundies Book: A Revised and Expanded Guide. iUniverse, Inc., 2007.
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11
Caps, John. Back to Television? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0011.
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This chapter details Mancini's return to television. Mancini was offered his own TV series, to be called The Mancini Generation, on which he would discuss and demonstrate film music to a syndicated audience. Undertaking the series was a colossal commitment. The music materials were drawn from his whole backlog of arrangements alongside some new charts, but in addition to the musical rehearsals there were camera rehearsals and host-segment preparations all of which were shot together during one four-week period and then sliced up for insertion into the shows. Unique to each show was a sequence during which Mancini invited one college student enrolled in a film course at some university across the country to take a past Mancini recording and conceive, shoot, and edit an experimental film based on the music. The short films, then, were shown on the program, and Mancini used the opportunity to push support for film and film-scoring study courses in schools of the future. The Mancini Generation was eventually seen on 150 stations nationwide and also led to an RCA album sporting the series title, his first jazz-pop album since the 1960s.
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Baumgartner, Michael. Metafilm Music in Jean-Luc Godard's Cinema. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.001.0001.
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Abstract This monograph explores the underresearched use of music in Jean-Luc Godard’s films and video essays from the early 1960s to the late 1990s. While Godard is largely hailed as a leading innovator of visual montage, unique storytelling style, and groundbreaking cinematography, his achievements as a leading pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image have been mainly overlooked. On these soundtracks, music assumes the unique role of metafilm music. Metafilm music self-consciously refers to its own role as film music and disrupts the primary function of film music as an essential filmic device creating cinematic illusion. The concept of metafilm music describes how Godard thinks with film music about film music. Metafilm music manifests itself in Godard’s work in four distinct manners: as fragmentized musical cues; as the same fragment verbatim repeated several times; as extrapolated, short excerpts from classical or popular music; and as music making as a model for filmmaking. With a detailed analysis of these parameters, the book explores fragmented and repeated music as Godard’s critique of the leitmotif technique. Godard further self-reflexively investigates genre-specific music in musical comedies, films noir, and melodramas, as well as prototypical film music as arguably its own musical genre. His last foray into metafilm music entails music making as a metaphor for filmmaking. By thinking with music about the function of film music, Godard has created throughout his career multilayered soundtracks that challenge the conventional norms of film music and sound.
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Lewis, Hannah. Surrealist Sounds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0003.
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This chapter focuses on the controversial early sound films directed by avant-garde filmmakers Jean Cocteau and Luis Buñuel: Le Sang d’un poète (1930) by Cocteau and L’Age d’or (1930) by Buñuel. They were the first surrealist sound films, and both filmmakers used music to create strange audiovisual juxtapositions and to shock their audiences. Although music’s role in the surrealist movement was contested, Lewis demonstrates through her analysis of these two films that music was crucial for a surrealist audiovisual cinematic conception. While experiments this audacious were short-lived, these two films offer a glimpse into a style of audiovisual filmmaking that was most closely aligned with modernist musical practices of the 1920s, in terms of the participants involved, their aesthetic priorities, and the institutional structures in which they were funded and supported.
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Whitehead, Kevin. Play the Way You Feel. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.001.0001.
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This book—both a narrative and a film directory—surveys and analyzes English-language feature films (and a few shorts and TV shows/movies) made between 1927 and 2019 that tell stories about jazz music, its musicians, its history and culture. Play the Way You Feel looks at jazz movies as a narrative tradition with recurring plot points and story tropes, whose roots and development are traced. It also demonstrates how jazz stories cut across diverse genres—biopic, romance, musical, comedy and science fiction, horror, crime and comeback stories, “race movies” and modernized Shakespeare—even as they constitute a genre of their own. The book is also a directory/checklist of such films, 67 of them with extensive credits, plus dozens more shorter/capsule discussions. Where jazz films are based on literary sources, they are examined, and the nature of their adaptation explored: what gets retained, removed, or invented? What do historical films get right and wrong? How does a film’s music, and the style of the filmmaking itself, reinforce or undercut the story?
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Goldmark, Daniel. Pixar and the Animated Soundtrack. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.022.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Of the many ways in which the animation production company Pixar differentiated itself from the classic animated shorts and films produced by Disney, the complete shunning of the Disney musical archetype may be the most pronounced. Pixar replaced the musical numbers and dance sequences with montages and flashbacks, scored with either original music or preexisting songs, furthering Pixar’s near-obsession with nostalgia and resurrection of the distant past. Combining unusually nuanced attention to the soundtrack with a longing for bygone popular culture, the Pixar films show a new stage of development for animated films, taking on the stereotype that Hollywood cartoons are for kids. This chapter explores Pixar’s approach to music and the soundtrack to show how advances in sound design, as well as an evolving approach to film scoring taken by veteran Hollywood composers, have brought a new level of complexity and even respectability to the long-maligned animated feature.
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Caps, John. The Music Factory. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0004.
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This chapter details events following Mancini's employment as a Universal Studios staff composer in 1952. The Universal Studios staff composers were a highly organized, well-oiled team, able to score any sort of film, any story or setting, albeit with fairly generic music and always in a rush. Mancini's daily routine at Universal, studying the clichés of Hollywood storytelling music, was the perfect on-the-job training for his career to come. Among his first assignments was to score the studio's glamorous two-reeler films with titles like The World's Most Beautiful Girls, Fun for All, and Calypso Carnival. The first feature-length film receiving more than a handful of music cues from Mancini was called Willie and Joe Back at the Front (1952). As a sign of growing confidence, conductor Joseph Gershenson gradually gave Mancini a shot at writing the opening main title music for several films, including The Raiders, All I Desire, and City Beneath the Sea. Mancini's first onscreen credit would come as an arranger in 1954 for the Universal bio-pic musical The Glenn Miller Story.
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Wilkins, Kim, and Wyatt Moss-Wellington, eds. ReFocus: The Films of Spike Jonze. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.001.0001.
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ReFocus: The Films of Spike Jonze is the first collection of essays on this important and original contemporary filmmaker. It looks at his ground-breaking work in both features and short forms, exploring the impact of his filmmaking across a range of philosophical and cultural discussions. Each of Jonze’s feature films, from Being John Malkovich (1999) to Her (2013), is discussed at length, focusing on issues of authorship, narration, genre and adaptation. As well as the textual aspects of Jonze’s feature films, the contributors consider his work in music videos and shorts – investigating his position as a filmmaker on the blurred boundaries between studio and independent modes of production.
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Furman, Nelly. Georges Bizet's Carmen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190059149.001.0001.
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Since 1875 the heroine of the most performed opera in the world, Carmen has become a universal cultural icon. She has appeared in a multitude of ballets, on stage as well as ice rinks, and in some eighty international films. The success of Bizet’s opera owns a lot to the libretto’s singular accounting of the 1845 short story on which it is based. In her close textual analyses of Ludovic Halévy’s and Henri Meilhac’s libretto and Prosper Mérimée’s novella, the author strives to account for the multiple aspects of Carmen’s attraction that support Georges Bizet’s acclaimed musical score.
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LoBrutto, Vincent. Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.001.0001.
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This, the first biography of film director Ridley Scott, investigates the life and moving-image work of a major cinema artist. Ridley Scott is a supreme visualist who applies artistry to telling motion picture narratives. The influence of his early work in commercials, television projects, short films, and music videos is explored. The arc of his life experience is examined to provide a total picture of the man, with emphasis on the look and content of his films. Each Ridley Scott film is presented from a series of views: conception, production, postproduction, critical and social reactions, box office results, and impact on his long and continuing career. Scott’s ability to make and release feature films on a regular timetable and run a multifaceted production company at the same time reveals his stamina and work ethic. Thematic patterns in Ridley Scott’s filmography give further insight into his artistic personality; he repeatedly examines subjects such as war, the nature of the male of the species, and the strength of women. Scott deals with these themes through hands-on collaboration with screenwriters and film craft artists such as the director of photography, production designer, and editor. The book embraces the concept that Ridley Scott is a complex artist driven to apply his art in a constant flow of projects. This biography will fill in many gaps of the life and films of this British-born director, who is known and respected by audiences, film critics, and scholars all over the globe.
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Tamburri, Anthony Julian. Italian/American Short Films and Music Videos: A Semiotic Reading. Digital-I Books, 2002.
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Tamburri, Anthony Julian. Italian/American Short Films and Music Videos: A Semiotic Reading. Digital-I Books, 2002.
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Tamburri, Anthony Julian. Italian/American Short Films and Music Videos: A Semiotic Reading. Purdue University Press, 2002.
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24
Roust, Colin. Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.001.0001.
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Although Georges Auric (1899–1983) is best remembered today for his affiliation with the Groupe des Six, his musical career was long, productive, complex, and intimately attuned to the realities of modern life. His polyvalent career—as a composer of concert, theatrical, ballet, popular, film, and television music; music critic; opera director; and arts administrator—reveals a diversity of engagements that speak to a reconfiguration of the role of the composer in the modern world. Auric was a product of his time, with deep connections to France’s artistic, social, and political elites. At the same time, he drew on his prestige and privilege to improve the country’s musical life in tangible ways, whether with regard to musical education and accessibility or to the establishment of fair copyright laws. He took artistic collaboration, already a hallmark of the short-lived Groupe des Six, to a level that surpassed any of the other members of that group. Diverging from the romantic trope of individual creation, Auric’s legacy troubles conventional ideas of what it means to be a composer.
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Naremore, James. Letter from an Unknown Woman. British Film Institute, 2021. http://dx.doi.org/10.5040/9781839022371.
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James Naremore's study of Max Ophuls' classic 1948 melodrama, Letter from an Unknown Woman, not only pays tribute to Ophuls but also discusses the backgrounds and typical styles of the film’s many contributors--among them Viennese author Stephan Zweig, whose 1922 novella was the source of the picture; producer John Houseman, an ally of Ophuls who nevertheless made questionable changes to what Ophuls had shot; screenwriter Howard Koch; music composer Daniéle Amfitheatrof; designers Alexander Golitzen and Travis Banton; and leading actors Joan Fontaine and Louis Jourdan, whose performances were central to the film’s emotional effect. Naremore also traces the film's reception history, from its middling box office success and mixed early reviews, exploring why it has been a work of exceptional interest to subsequent generations of both aesthetic critics and feminist theorists. Lastly, Naremore provides an in-depth critical appreciation of the film, offering nuanced appreciation of specific details of mise-en-scene, camera movement, design, sound, and performances, integrating this close analyses into an overarching analysis of Letter’s “recognition plot;” a trope in which the recognition of a character’s identity creates dramatic intensity or crisis. Naremore argues that Letter's use of recognition is one of the most powerful in Hollywood cinema, and contrasts it with what we find in Zweig's novella.
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Aspell, Luke. Shivers. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325970.001.0001.
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Shivers (1975) was David Cronenberg's first commercial feature and his first horror film. In a modern apartment block, a scientific project to unleash the id results in the equation of passion with contagion and predation. Because the writer-director's imaginative landscape arrived in the genre fully formed, the unique forms of this début have often been overlooked or mistaken for shortcomings. Cronenberg's most comedic film until Map to the Stars, Shivers is also his most spectacularly unnerving, throwing more images of extreme behavior at us than any of his subsequent films; it remains, with Crash, his most disquieting and transgressive film to date. This book's analysis addresses all channels of communication available to the 35mm sync-sound narrative feature, including shot composition, lighting, cinematographic texture, sound, the use of stock music, editing, costume, makeup, optical work, the screenplay, the casting, and the direction of the actors. This tour of Shivers as “cognitive territory” takes in architecture, cultural context, critical reception, and artistic legacy.
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Adams, Jade Broughton. F. Scott Fitzgerald's Short Fiction. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.001.0001.
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F. Scott Fitzgerald is remembered primarily as a novelist, but he wrote nearly two hundred short stories for popular magazines such as the widely-read Saturday Evening Post. These stories are vividly infused with the new popular culture of the 1910s, 1920s, and 1930s, from jazz and blues music to motion pictures and performing arts. This book demonstrates how popular culture had a deep impact on Fitzgerald’s work, not just in terms of evoking period detail, but by confirming Fitzgerald as an experimental writer whose popular short stories reflect the serious modernist concerns occupying writers such as Ernest Hemingway, James Joyce, Sherwood Anderson, Dorothy Parker, and Langston Hughes. This book explores how popular culture impacted on F. Scott Fitzgerald’s literary aesthetics on both thematic and formal levels, to a greater extent than previously recognised. Encompassing spheres of both American studies and cultural studies, this book offers a revisionist perspective on Fitzgerald’s short fiction of the interwar period, which is often overlooked in favour of the novels, especially The Great Gatsby. By exploring Fitzgerald’s fascination with leisure, specifically the intertwined cultural spheres of dance, music, theatre, and film, this book argues that he innovatively imported practices borrowed from other popular cultural media into his short stories, deploying disruptive techniques of ambiguity and parody that sit in tension with reader expectations of his lyrical style and the commercial publication contexts of his stories.
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Avila, Eric. American Cultural History: A Very Short Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190200589.001.0001.
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American Cultural History: A Very Short Introduction provides a chronological look at American culture—the values, attitudes, beliefs, and myths of a particular society and the objects through which they are organized—addressing literature, music, art, architecture, theater, film, television, and the Internet. In doing so, it emphasizes culture’s role in the shaping of national identity and how previous generations of Americans have imagined themselves, their nation, and their relationship to rest of the world. Across the lines of race, class, gender, sexuality, religion, ethnicity, generation, and geography, diverse Americans have forged a national culture with a global reach, inventing stories to underscore the problems and possibilities of an American way of life.
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Steichen, James. Balanchine and Kirstein's American Enterprise. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.001.0001.
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George Balanchine is today one of the most celebrated figures in twentieth-century ballet and is closely identified with the two institutions he helped found in collaboration with Lincoln Kirstein: the School of American Ballet and the New York City Ballet. During the early years of their efforts in the 1930s, Balanchine and Kirstein’s enterprise underwent numerous changes and transformations. The complexity of their endeavors has been misrepresented in many existing accounts of their lives and careers, in part because their activities have not been assessed as a whole. This book chronicles Balanchine’s and Kirstein’s work between 1933 and 1940 in the spheres of ballet, opera, Broadway musicals, and Hollywood cinema. This new account shows the ways in which their collective and individual efforts influenced and affected one another and ultimately shaped the character of the institutions they would eventually found. The work of the short-lived organizations the American Ballet (1935–38) and Ballet Caravan (1936–40) brought together dozens of dancers and collaborators, and the activity of these companies was closely related to work of the School of American Ballet as well as Balanchine’s projects in Broadway musical theater and film.
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Pollack, Howard. The Ballad of John Latouche. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.001.0001.
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Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.
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Bench, Harmony. Monstrous Belonging. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.025.
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This chapter begins by reviewing the importance of Michael Jackson’s early forays in music video, paying particular attention to the short film, “Michael Jackson’s Thriller” from 1983. Jackson’s monstrosity and Ola Ray’s victimization in this film are addressed. This chapter then turns to recent adaptations and performances of “Thriller,” arguing that as a choreography, “Thriller” became a privileged site for articulating a collective sense of belonging in the early twenty-first century. In an era that amplified American insecurity and paranoia, performances of “Thriller” circulating through social media show how performers used the choreography to embody monstrosity, domesticate fear, dissipate threat, form an American public outside nationalist discourses, and resignify public spaces rendered threatening by the “War on Terror.”
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Steichen, James. 1939–1940. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.003.0011.
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From 1939 to 1940 Balanchine and Kirstein continued their independent activities. Balanchine and Zorina took on additional projects on the stage and screen, including a film adaptation of On Your Toes, the romantic melodrama I Married an Adventuress, and a new stage musical by Irving Berlin, Louisiana Purchase. Balanchine also created dances for the short-lived revue Keep Off the Grass as well as serving as producer and director of Cabin in the Sky, for which he collaborated with Vernon Duke and choreographer Katherine Dunham and her dance company. Kirstein continued to tour with the company now billed as the American Ballet Caravan, which completed a second transcontinental tour that included the premieres of the ballets City Portrait and Charade. The company secured one final engagement in a ballet called A Thousand Times Neigh, presented at the World’s Fair Pavilion of the Ford Motor Company.
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Wilson, Charles Reagan. The American South. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780199943517.001.0001.
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The American South: A Very Short Introduction explores the American South, a distinctive place with a dramatic history. It is a cultural crossroads, where Western Europe met West Africa in a colonial slave society. The Civil War and civil rights movement transformed the South and remain a part of a vibrant and contested public memory. Moreover, the South's pronounced traditionalism in customs and values have always contended with the forces of modernization and the continuing challenges of racial tension. This VSI looks at Southerners' diverse creative responses to these experiences, in literature, film, music, and cuisine, which have had worldwide influence.
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Kaduri, Yael, ed. The Oxford Handbook of Sound and Image in Western Art. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.001.0001.
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This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it—together with sound, voice, and text—to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema.
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David, Matthew. Cultural, Legal, Technical, and Economic Perspectives on Copyright Online: The Case of the Music Industry. Edited by William H. Dutton. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199589074.013.0022.
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This chapter summarises the cultural, legal, technical, and economic approaches to enforcing copyright. It suggests that rights holders need to rethink their business models in the digital age, such as by concentrating on live performances, rather than simply trying to shore up old business models by criminalising copyright infringement. The link between pervasiveness and persuasiveness is complex and sometimes contradictory. It is noted that online sharing is not identity theft.The Pirate Baychose to embrace the term pirate despite disputing almost everything else being claimed by the recording and film industry lobbies about online sharing. The asymmetrical architecture of the Internet makes circulation easier than regulation. The Internet makes every computer an infinite copying machine and one hard to disconnect from every other. The music industry has been hit first and hardest by online sharing, and reveals the clearest signs of successful adaptation.
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Scholz, Susanne, ed. The Oxford Handbook of Feminist Approaches to the Hebrew Bible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190462673.001.0001.
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The Oxford Handbook of Feminist Approaches to the Hebrew Bible brings together thirty-seven essential essays written by leading international scholars, examining crucial points of analysis within the field of feminist Hebrew Bible studies. Organized into four major areas — globalization, neoliberalism, media, and intersectionality, the essays provide vibrant, relevant, and innovative contributions to the field. The topics of analysis focus heavily on gender and queer identity, with essays touching on African, Korean, and European feminist hermeneutics, womanist and interreligious readings, ecofeminist and animal biblical studies, migration biblical studies, the role of gender binary voices in evangelical-egalitarian approaches, oand the examination of scripture in light of trans women’s voices. The volume includes essays examining the Old Testament as recited in music, literature, film, and video games. In short, the book offers a vision for feminist biblical scholarship beyond the hegemonic status quo prevalent in the field of biblical studies, in many religious organizations and institutions that claim the Bible as a sacred text, and among the public that often mentions the Bible to establish religious, political, and socio-cultural restrictions for gendered practices. The exegetically and hermeneutically diverse essays demonstrate that feminist biblical scholarship forges ahead with the task of engaging the many issues and practices that keep the gender caste system in place even in the early part of the twenty-first century. The essays of this volume thus offer conceptual and exegetical ways forward at a historic moment of global transformation and emerging possibilities.
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Bell-Villada, Gene H., and Ignacio López-Calvo, eds. The Oxford Handbook of Gabriel García Márquez. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190067168.001.0001.
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García Márquez’s writing is a literary order that will continue to be read, studied, and learned so long as there are practitioners, students, and lovers of literature. One Hundred Years of Solitude, of course, is admired by millions across the world, from high school students to major novelists such as Salman Rushdie and the late Toni Morrison. The Oxford Handbook of Gabriel García Márquez takes a broad overview of the life and oeuvre of “Gabo” (as he is affectionately known throughout Latin America) and examines them thoroughly. The volume incorporates ongoing critical approaches such as feminism, ecocriticism, Marxism, and ethnic studies, as well as signaling such key aspects of García Márquez’s work as his Caribbean-Colombian background; his use of magical realism, myth, and folklore; and his left-wing political positions. Thirty-two wide-ranging chapters by a diverse and international group of experts deal with the bulk of the author’s writings—both major and minor, early and late, long and short—as well as his involvement with film. They also give due attention to the central roles played by romantic love, by his prose style, and by the various kinds of music in his literary art. Particularly worthy of mention are the contributors’ extensive discussions of the worldwide artistic impact of García Márquez—on established canons, on the Global South, on imaginative writing in South Asia, China, Japan, and throughout Africa and the Arab world. More than a Latin American author, he truly qualifies as a global phenomenon. This is the first book on García Márquez that places the Colombian within that wider context.
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Ebersole, Lucinda. Mondo Elvis: A Collection of Stories and Poems about Elvis. St Martins Pr, 1994.
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Lucinda, Ebersole, and Peabody Richard 1951-, eds. Mondo Elvis. New York: St. Martin's Press, 1994.
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