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Books on the topic 'Sound analyzers'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Coates, M. J. Impulse noise and sound exposure meters. Dept. of Occupational Health, Safety, and Welfare, 1985.

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2

Wayman, James L. A variance detector for signal-gap discrimination in noisy speech channels. Naval Postgraduate School, 1985.

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3

Read, Robert R. An investigation of timing synchronization errors for tracking underwater vehicles. Naval Postgraduate School, 1990.

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4

Jeong-Guon, Ih, and Benesty Jacob, eds. Acoustic array systems: Theory, implementation, and application. John Wiley & Sons, Inc., 2013.

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5

Schomer, Paul. Acoustic directivity patterns for Army weapons. US Army Corps of Engineers, Construction Engineering Research Laboratory, 1986.

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6

Schomer, Paul. Acoustic directivity patterns for Army weapons. US Army Corps of Engineers, Construction Engineering Research Laboratory, 1985.

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7

Siewert, Senta. Performing Moving Images. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-scre

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8

Russkevich, Evgeniy. Criminal law and "digital crime": problems and solutions. INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1840963.

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The monograph is devoted to a complex of theoretical and applied problems of adapting the domestic mechanism of criminal law protection to the "digitalization" of crime in the conditions of the formation of the information society. Along with general theoretical issues, foreign criminal legislation and provisions of international law are being thoroughly analyzed. The paper presents an updated criminal-legal description of crimes in the field of computer information, including novelties of Russian criminal legislation - unlawful impact on the critical information infrastructure of the Russian

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9

United States. National Aeronautics and Space Administration., ed. System for detecting objects that represent a threat. National Aeronautics and Space Administration, 1988.

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10

Investigation on experimental techniques to detect, locate, and quantify gear noise in helicoper transmissions. Dept. of Mechanical and Aerospace Engineering, University of Missouri-Rolla, 1985.

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11

Benesty, Jacob, Mingsian R. Bai, and Jeong-Guon Ih. Acoustic Array Systems: Theory, Implementation, and Application. Wiley & Sons, Incorporated, John, 2013.

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12

Benesty, Jacob, Mingsian R. Bai, and Jeong-Guon Ih. Acoustic Array Systems: Theory, Implementation, and Application. Wiley & Sons, Incorporated, John, 2013.

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13

Benesty, Jacob, Mingsian R. Bai, and Jeong-Guon Ih. Acoustic Array Systems: Theory, Implementation, and Application. Wiley & Sons, Incorporated, John, 2013.

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14

Benesty, Jacob, Mingsian R. Bai, and Jeong-Guon Ih. Acoustic Array Systems: Theory, Implementation, and Application. Wiley & Sons, Limited, John, 2013.

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15

Benesty, Jacob, Mingsian R. Bai, and Jeong-Guon Ih. Acoustic Array Systems: Theory, Implementation, and Application. Wiley & Sons, Incorporated, John, 2013.

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16

Kytö, Meri. Soundscapes of Istanbul in Turkish Film Soundtracks. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0028.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines the changing relationships of sounds, places, and their cultural meanings in Turkish films located in Istanbul. Starting with a brief review of the historical context of Turkish film sound and sonic representations of Istanbul, the chapter then analyzes two recent films set in middle-class apartment homes,11’e 10 kalaandUzak, which represent the auteur vein of new Turkish cinema. Both feature subtle and delicate sound design and evidence

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17

Deamer, David. Look? Optical/Sound Situations and Interpretation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0015.

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This chapter explores the influence Abbas Kiarostami’s Five (2003) takes from the cinema of Ozu, theorizing the nature of the dedication in the subtitle: 5 Long Takes—Dedicated to Yasujiro Ozu. Such questions will be approached through the philosopher Gilles Deleuze and his two books on film, Cinema 1—The Movement-Image and Cinema 2—The Time-Image. Ozu is pivotal to Deleuze for being the first filmmaker to create “pure optical and sound situations,” to disrupt the codes of classical cinema (movement-image) and open a way to the modernist cinema (time-image). Such disruption and creation will b

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18

De Souza, Jonathan. Sounding Actions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0003.

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When a musical instrument converts energy into sound, it makes aspects of the player’s action audible. This chapter analyzes this action-sound coupling in various instruments, drawing on ecological acoustics, organology, and cybernetics. It introduces a distinction between two aspects of sound production—“activation” and “control”—either of which may come from the player or the instrument. Pipe organs, for example, are activated by nonhuman power sources, though the pitches are controlled by the organist. Barrel organs, by contrast, are activated by human energy, but the pitches are preprogram

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19

Woodworth, Griffin. Synthesizers As Social Protest in Early-1970s Funk. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0011.

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The advent of the synthesizer brought a new timbral palette for artists to explore. Early synthesizers sought to imitate acoustic instruments, but over time they developed their own unique timbral qualities used in 1970s funk and progressive rock. Occupying the Freudian uncanny, synthesized sounds are just distinguishable enough from those of acoustic instruments to inspire discomfort or create an otherworldly, science-fiction sound. This chapter argues that African-American funk musicians of the 1970s used synthesizers in the spirit of black social empowerment movements, which advocated for t

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20

Pitozzi, Enrico. Body Soundscape. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.43.

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Starting from an interdisciplinary perspective of methodological integration of the concepts of body and sound in the contemporary dance scene, this chapter addresses the general aesthetic notion ofsonorous body. Through a survey of some key practices and pieces by Wayne McGregor, Ginette Laurin, Angelin Preljocaj, Cindy Van Acker and others, the author analyzes the audiovisual dimension of these works, developed with digital technologies and in a collaboration of choreographers with electronic musician and sound artists such as Scanner, Kasper T. Toeplitz, Granular Synthesis, and Mika Vainio.

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21

Gill, Denise. Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0003.

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Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû. I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul. This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production. This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as sm

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22

De Souza, Jonathan. Music at Hand. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.001.0001.

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Musical instruments ground players’ actions and the sounds they create. Yet this book further claims that instruments mediate perception and imagination. Practicing an instrument builds bodily skills, while also fostering auditory-motor connections in players’ brains. These intersensory links reflect the ways that a particular instrument converts action into sound, the ways that it coordinates tonal and physical space. Reactivated in various ways, these connections can influence instrumentalists’ listening, improvisation, and composition. To investigate these effects, the book engages both cla

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23

Llano, Samuel. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199392469.003.0001.

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The introduction analyzes the impact of modernization and population growth on Madrid’s society from the 1850s to the 1930s, attending to the widening of social inequalities and the escalation of problems such as crime, epidemics, and poverty. In addition, the introduction lays out the theoretical framework of the book. On one hand, it explores the different ways in which the relationship between marginality and social control can manifest in society and accounts for the way in which music can help to negotiate those tensions. On the other hand, it explores the construction of discourse around

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24

Lewis, Hannah. “An achievement that reflects its native soil”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0004.

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The third chapter focuses on several French-language musical films, known as opérettes filmées (filmed operettas), that were produced by American and German companies and intended for French audiences. Because French production was slow to adopt sound film technology, many French personnel (directors, composers, and actors) worked on their first sound films through these international contexts. The films analyzed in this chapter—Chacun sa chance, Le Chemin du paradis, and Il est charmant—drew influence from a range of stage genres from different national traditions, and attempted to negotiate

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25

Perks, Robert B. Messiah with the Microphone? Oral Historians, Technology, and Sound Archives. Edited by Donald A. Ritchie. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195339550.013.0023.

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For decades, oral historians and their tape recorders have been inseparable, but it has also been an uneasy marriage of convenience. The recorder is both our “tool of trade” and also that part of the interview with which historians are least comfortable. Oral historians' relationship with archivists has been an uneasy one. From the very beginnings of the modern oral history movement in the 1940s, archivists have played an important role. The arrival of “artifact-free” digital audio recorders and mass access via the Internet has transformed the relationship between the historian and the source.

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26

VanCour, Shawn. Making Radio Drama. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497118.003.0005.

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This chapter analyzes methods of sonic storytelling and radio acting used in early broadcast drama. While accounting for a small percentage of period programming, dramatic productions formed a rich site for vernacular theorization of radio’s purportedly medium-specific properties and aesthetic possibilities. Dismissed by stage competitors as a hindrance to effective storytelling, radio’s aurality was embraced by proponents as the basis for a new dramatic art form that would be governed by five core principles: (1) emphasis on “natural” acting styles, (2) dialogue reduction through use of music

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27

Tausig, Benjamin. Bangkok is Ringing. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847524.001.0001.

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Bangkok Is Ringing is an on-the-ground sound studies analysis of the political protests that transformed Thailand in 2010–11. Bringing the reader through sixteen distinct “sonic niches” where dissidents used media to broadcast to both local and diffuse audiences, the book catalogues these mass protests in a way that few movements have ever been catalogued. The Red Shirt and Yellow Shirt protests that shook Thailand took place just before other international political movements, including the Arab Spring and Occupy Wall Street. Bangkok Is Ringing analyzes the Thai protests in comparison with th

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28

Neumeyer, David, ed. The Oxford Handbook of Film Music Studies. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195328493.001.0001.

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This volume explores the history and evolution of film music studies from the silent film to the sound film era. It examines the relevance of various theories, including ontological, feminist, queer, critical and apparatus theories, in film studies and analyzes the influence of theater or opera music on the development of film soundtrack. It also discusses the history of video game music and presents two case studies involving the analysis of the musical scores for Cecil B. DeMille’s The Ten Commandments and Terry Gilliam’s 12 Monkeys.

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29

Murphet, Julian. Affect and spatial dynamics in Flags in the Dust and The Sound and the Fury. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664244.003.0003.

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This chapter analyzes the critical break in Faulkner’s career, between the relatively conventional and long-winded draft of Flags in the Dust (1927) and the extraordinary literary achievement The Sound and the Fury (1929)—both of which tackle the same basic material. It speculates that one determining factor is the diminution, in absolute terms, of Southern descriptive prose from one book to the next, and argues that Faulkner motivates this eclipse of one of the perdurable romance techniques via an astute attention to the changes wrought to the “distribution of the sensible” by the increase in

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30

Llano, Samuel. Discordant Notes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199392469.001.0001.

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Scholarship on urban culture and the senses has traditionally focused on the study of literature and the visual arts. Recent decades have seen a surge of interest in the effects of sound on the urban space and its population. These studies analyze how sound generates identities that are often fragmentary and mutually conflicting. They have also explored the rise of campaigns against the negative effects of noise on the nerves and health of the population. However, little research has been carried out on the impact of sound and music in areas of broader social and political concern, such as soc

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31

Walker, Elsie. Funny Games. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0004.

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Having established the dominant sonic patterns of Haneke’s cinema in relation to The Seventh Continent, this chapter combines an auteur-centered approach with genre studies. More specifically, it analyzes how Funny Games disobeys sonic rules of mainstream thrillers, including: a comparative lack of non-diegetic music, few stingers to punctuate shocking moments, and an absence of sexualized sounds when the female victim resists her killer. The defamiliarizing experience of Funny Games confronts us with what it means to view violence as entertainment, especially through its uncomfortable extreme

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32

Llano, Samuel. A Public Nuisance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199392469.003.0007.

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This chapter documents the early presence of organilleros in the streets of Spanish cities from the 1860s on and analyzes their impact on Madrid’s society during the ensuing decades. Considered an exotic amusement during the 1860s, organilleros came to be seen as sources of “noise” and social disorder soon after. Although the information available on organilleros makes it hard to describe their social background accurately, it is likely that some of them were rural immigrants who took up organ grinding intermittently when other sources of income failed. Their impact on the public sphere raised

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33

VanCour, Shawn. Making Radio Time. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497118.003.0002.

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This chapter analyzes strategies of program arrangement developed to manage sonic flows and listener attention, the industrial exigencies shaping them, and means by which they became taken-for-granted aspects of modern experience. Regulatory mandates for live programming positioned radio as a new studio art that would supply its own content, a system of private competition favored continuous streaming of regularly scheduled programming to attract and hold listener attention, and conflicting mandates for varied but unified programming were resolved by dividing the broadcast day into a series of

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34

Trobia, Alberto, and Fabio M. Lo Verde. Italian Amateur Pop-Rock Musicians on Facebook. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.8.

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This chapter investigates how and why amateur musicians use social networking sites, employing a mixed-methods approach. Attention is focused on four big Italian Facebook communities of pop-rock musicians: drums, bass, guitar, and keyboard players (overall, 2,101 active users), analyzing the relational and textual data extracted from the web. The chapter analyzes the network structures emerging from the interactions among the users. It also identifies and maps the main areas of discussion (sound shaping, studio recording, marketplace, musical references, computer production, and relations) and

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35

Fulcher, Jane F. From the legal to the illegal: Schaeffer’s journey toward resistance and artistic exploration. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190681500.003.0004.

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This chapter focuses on the cultural association called Jeune France, on Pierre Schaeffer’s initial relation to Vichy, and the goals that he believed they shared. It then traces the way in which his perceptions of the regime slowly changed as he became aware of the political and cultural limits of its vision of a “new France.” While at first idealistically supporting Vichy, he later turned against it from within its own institutions. For he had sought to reinscribe the classics as well as traditional folk culture, but in a manner that opened up a progressive vision of the French community, one

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36

Zur Nieden, Gesa. Symmetries in Spaces, Symmetries in Listening. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.16.

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Based on the importance of the concept of symmetry in French sociological aesthetics circa 1900, this chapter analyzes the convergence of theaters, musical form, and musical understanding. The analysis focuses on architectural shape, audience response, and the musical repertoire in the new theaters built in Barcelona (1847), Paris (1862), and Rome (1880). While these theaters were fashioned after the baroque form of the “teatro all’italiana” that prevailed in Italy, France, and Spain during the late nineteenth century, they provided huge spaces accommodating a socially mixed audience within an

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37

Gardner, Colin. Chaoid Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494021.001.0001.

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The book expands on a burgeoning area in contemporary film studies that explores absences and interstices such as black and white screens that interrupt the film narrative in order to explore buried or hidden philosophical and affective layers that, once revealed, will radically change our reading of the film. In this case I explore silences in the soundtrack – not ambient silence or so-called ‘room tone’ but complete sound drop-outs, as if the film projector had broken down, thereby jolting the audience out of their passive relationship to the screen so that they become aware of their surroun

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38

Walker, Elsie. Code Unknown. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0005.

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This chapter analyzes Code Unknown from a postcolonial perspective, with particular emphases on multiethnic voices, disempowered sonic presences, and cross-cultural possibilities of communication in the context of racial politics in contemporary France. The analysis considers how the sound track amplifies diverse characters’ choices to hear or not to hear, along with providing patterns and resonances that invite us to make interpretive leaps beyond the characters’ individual capabilities. Code Unknown reminds us how much our efforts to communicate matter, especially through the multiethnic, de

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39

Tenney, James. Meta ⌿ Hodos. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0002.

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In this essay, James Tenney discusses a phenomenology of twentieth-century musical materials and an approach to the study of form. Before describing the musical materials, Tenney examines the factors that account for the increased aural complexity of much of the music of the twentieth century and of some of its effects in our perception of music. He analyzes the gradual use of more and more complex sound-units in place of single tones, one manifestation of which can be seen in the expansion of the very concept of “melodic line” by way of various kinds of doublings. He also talks about the noti

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40

Schütte, Uwe, ed. The Cambridge Companion to Krautrock. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781009036535.

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This Companion is the first academic introduction to the 1960s/70s 'Krautrock' movement of German experimental music that has long attracted the attention of the music press and fans in Britain and abroad. It offers a structured approach to this exceptionally heterogeneous and decentralized movement, combining overviews with detailed analysis and close readings. The volume first analyzes the cultural, historical and economic contexts of Krautrock's emergence. It then features expert chapters discussing all the key bands of the era including Can, Kraftwerk, Tangerine Dream, Neu!, Faust, Ash Ra

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41

Camper, Martin. Letter versus Spirit. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677121.003.0004.

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Chapter 4 turns its attention to the stasis of letter versus spirit. Traditionally, this stasis has been understood as pitting the exact words of a text against the author’s intent, but the chapter expands the notion of spirit to include other animating forces of textual meaning, such as an overarching principle of interpretation brought by readers to the text. The chapter shows how both the letter and spirit of a text can be divided, with arguers disputing the text’s real versus apparent letter or the author’s real versus apparent intent. To demonstrate how arguers construe authorial intentio

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42

Tulloch, John, and Belinda Middleweek. Brutal Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0007.

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Chapter 5 begins with risk sociology’s understanding of intimacy as “a dogmatism for two” to explore an interdisciplinary mix of theory, including Tim Palmer’s analysis of the cinema of “brutal intimacy”; Tanya Modleski’s recognition of a current horror genre inflection of new desires for unleashing sexuality, violence, and control; Kelley Conway’s recognition of an authorship of considerable diversity in the context of films made by women about female sexuality in French culture; Raymond Williams’s concept of historical “structures of feeling”; Beck and Beck-Gernsheim’s “normal chaos of love”

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Rosa, Jonathan. Looking like a Language, Sounding like a Race. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190634728.001.0001.

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Looking like a Language, Sounding like a Race examines the emergence of linguistic and ethnoracial categories in the context of contemporary US constructions of Latinidad. The book draws from more than 24 months of ethnographic and sociolinguistic fieldwork to analyze the racialization of language as a central form of modern governance. It focuses specifically on youth socialization to US Latinidad as a contemporary site of political anxiety, “raciolinguistic” transformation, and urban inequity. Rosa’s account studies the fashioning of Latinidad in a highly segregated Chicago high school whose

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Mack, Adam. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039188.003.0001.

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This book examines the connection between Chicago's sensory environment—the sights, sound and noise, scent and odor, tastes, and haptic sensations people associated with the city—and its civic health. It explores how members of the urban middle classes used their five senses as barometers of civic health and social distinction. It shows that Chicago's sensory landscape constituted more than mere “background” to urban life; the sensations that people encountered on city streets, workplaces, and leisure spots helped them think through the perils and prospects of the city's growth and the metropo

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Gratier, Maya, Rebecca Evans, and Ksenija Stevanovic. Negotiations. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0014.

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This chapter looks at real-life embodied social dynamics between the members of a jazz quartet as they work to record an album in a professional studio. The study is based on audio and video recordings of one of the songs on the album, using data both from the recording booths and from the control room during listening and feedback sessions. In addition, the bass and drum tracks for four takes of the song are analyzed to explore the timing of the rhythmic interactions between drummer and bass player. The first part of the chapter focuses on the verbal negotiations between the bass player and t

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46

Amico, Stephen. Gay-Made Space. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038273.003.0005.

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This chapter explores the relationships among spatiality, orientation, and corporeality by focusing on the ways in which a post-Soviet, gay social space is engendered, in part, via popular music. It first compares temporality and spatiality in relation to homosexuality in the Soviet and post-Soviet eras before discussing popular music's relationship to sexuality and the post-Soviet experiences of detemporalization and deterritorialization. It then assesses the importance of virtual, mediated, musical spaces in the creation of the self. It also analyzes how geographic spaces, cyberspaces, and m

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Friedman, Jeffrey A. War and Chance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190938024.001.0001.

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War and Chance analyzes the logic, psychology, and politics of assessing uncertainty in international affairs. It explains how the most important kinds of uncertainty in international politics are inherently subjective, and yet how scholars, practitioners, and pundits can still debate these issues in clear and structured ways. Altogether, the book shows how foreign policy analysts can assess uncertainty in a manner that is theoretically coherent, empirically meaningful, politically defensible, practically useful, and sometimes logically necessary for making sound choices. Each of these claims

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Gill, Denise. Melancholic Modalities. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.001.0001.

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Typically dismissed as the remnants of Ottoman nostalgia, the melancholies intentionally cultivated by contemporary Turkish classical musicians are a fundamental aspect of their subjectivity. Melancholic Modalities is the first in-depth historical and ethnographic study of the affective practices socialized by these musicians who champion, teach, and perform a present-day genre substantially rooted in the musics of the Ottoman court and elite Mevlevi Sufi lodges. Denise Gill analyzes how melancholic music making emerges as reparative, pleasurable, spiritually redeeming, and healing. Focusing o

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49

Jue, Melody, and Rafico Ruiz, eds. Saturation. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478013044.

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Bringing together media studies and environmental humanities, the contributors to Saturation develop saturation as a heuristic to analyze phenomena in which the elements involved are difficult or impossible to separate. In ordinary language, saturation describes the condition of being thoroughly soaked, while in chemistry it is the threshold at which something can be maximally dissolved or absorbed in a solution. Contributors to this collection expand notions of saturation beyond water to consider saturation in sound, infrastructure, media, Big Data, capitalism, and visual culture. Essays incl

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Whitesell, Lloyd. Wonderful Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.001.0001.

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Glamour is an elusive aspect of cinematic style. This book critically examines previous scholarship on glamour; defines the concept as a compound of artifice, allure, and magic; and examines the phenomenon at work in the genre of the film musical. The focus is on the role of music in representing glamour, and the stylistic and semiotic conventions by which glamour is embodied in sound. The book develops an analytical framework that applies across media, the better to appreciate music’s collaborative role within multimedia spectacle. First, glamour is situated as one of a handful of “style mode

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