دانلود کتاب Popular Music and the Moving Image in Eastern Europe

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Cover page
Halftitle page
Title page
Copyright page
Contents
Introduction Popular Music and the Moving Image in Eastern Europe
Illustration, beautification, documentation and synaesthesia
Stalinist utopianism
The 1960s and 1970s: rock stars gain visibility
The 1980s: Music sells films, films sell music
The postcommunist period: nostalgia for the state socialist past
Structure and chapter description
Notes
Bibliography
1 1968 Leftist Utopianism in The Young Girls of Rochefort and Hot Summer
Political modernism and the 1968 musical
The Young Girls of Rochefort – nostalgia for an egalitarian Hollywood
Hot Summer : dreaming of blue jeans and beaches
Curtain call
Notes
References
2 Representing Modern Romania in the Musical of State Socialist Period
The Soviet model
The beginnings: the lively musicals of late 1950s, early 1960s
The musicals of the ‘thaw’ (1965–1971): a glamorous look
The mini-cultural revolution of 1971: the attack on celebrity culture
In search of originality: the musicals of the 1980s
Conclusions
Note
References
3 Worlds that Never Were
Musicals and Eastern European cinemas
Tales from the ‘long Sixties’
Vinyl cultures
The song will not remain the same
Conclusion
Special note
Notes
References
4 Pop Music, Nostalgia and Melancholia in Dollybirds and Liza, the Fox Fairy
Musical scenes as social scenes
Dollybirds and Liza : from nostalgia to melancholia
Recorded music as collective experience
Fetishism of recorded music
The girl with the old tape player
Conclusion
Special note
Notes
References
5 When the Golden Kids Met the Bright Young Men and Women
Communist culture industry
Twin miracles: developments in popular music and film in the 1960s
Popular music and fi lm form
Meanings and associations of popular music in film
Notes
Bibliography
6 ‘Music isn’t Music, Words aren’t Words’
The concept of new sensibility
New sensibility: origins and philosophy and the agency of rock music
Staging dissensus
Staging identity crisis
The transgressive politics of the music video
Post sensibility: the afterlife of new sensibility
Conclusions
Special note
Notes
References
7 Socialist Night Fever
Disco at the movies: visions of Travolta
Themes from the local dance floors
Sound from the local dance floors
Disco on the small screen
Boban Petrovi ć ’s TV Party
Conclusion
Notes
References
Discography
8 Disco Polo and Techno According to Maria Zmarz-Koczanowicz
Music documentaries in Poland
Zmarz-Koczanowicz: a liberal ironist
Hanky Panky : consumer as king
Love for a Vinyl Record: in search of musical and personal autonomy
Conclusion
Notes
References
9 Musical Variations in Karpo Godina’s Alternative Cinema
Karpo Godina and the Yugoslav context
Music in Godina’s short films
Picnic on Sunday : a world of idyll and expectation
The Gratinated Brains of Pupilija Ferkeverk: the intangible world
Litany of Happy People: people in colour, the world in a shambles
The dissolution of conventions and relations
Conclusion
Notes
References
10 Polish Music Videos
State of research on Polish music video
Art, rather than commerce
Polish music videos on Polish television and on festivals
Polishness of disco polo and ‘intelligent rock’ videos
Electronic and alternative videos
The advantages of researching Polish music video
Notes
References
11 ‘She Stole it from Beyoncé !’
History of the pop-folk genre
Terminology and sources
Pop-folk music video remakes
Beyonce’s Crazy in Love vs. Aneliya’s You Please Me So
Audience reactions to You Please Me So
Conclusion
Notes
References
12 Postsocialist Social Reality in Hungarian Rap Music Videos
A short history of Hungarian rap
Hip-hop music videos
Glocalized aesthetics: Hungarian rap music videos
Conclusion
Notes
References
Contributors
Index