Local Stories, Global Music. Sound trade marks in the lastest genres of Spanish Cinema
Article Sidebar
68)
Main Article Content
Authors
Abstract
108
References
BENJAMIN, Walter, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Frankfurt am Main: Suhrkamp Verlag, 1983.
BLACKING, John, How Musical is Man?, University of Washington Press, Seattle, 1973.
BOURDIEU, Pierre, La distinction, Les Éditions de Minuit, Paris, 1979.
COOK, Nicholas, Music. A Very Short Introduction, Oxford University Press, 1998.
CUETO, Roberto, El lenguaje invisible. Entrevistas con compositores del cine español, Festival de Alcalá de Henares, Madrid, 2003.
FLINN, Caryl, Strains of Utopia. Gender, Nostalgia and Hollywood Film Music, Princeton University Press, Princeton, 1992.
FRAILE, Teresa, Música de cine en España. Señas de identidad en la banda sonora contemporánea, Festival Ibérico de Cine, Diputación de Badajoz, 2010.
GORBMAN, Claudia, Unheard Melodies. Narrative Film Music, Indiana University Press, Bloomington, 1987.
KASSABIAN, Anahid, Hearing Film. Tracking Identifications in Contemporary Hollywood Film Music, Routletge, NY & London, 2001.
PADROL, Joan, Conversaciones con músicos de cine, Diputación de Badajoz, 2006.
RADIGALES, Jaume, FRAILE, Teresa, “La música en los estudios de comunicación audiovisual. Prospecciones y estado de la cuestión”, Trípodos, nº19, 2006, pp. 99-112.
SEMPERE, Antonio, Roque Baños. Pasión por la música, Ocho y Medio/ 15 Semana de Cine de Medina del Campo, Madrid, 2002.
SCARNECCHIA, Paolo, Música popular y música culta, Icaria editorial, Barcelona, 1998.
TAGG, Philip, Kojak. 50 Seconds of Television Music. Toward the Analysis of Affect in Popular Music. Skriften fran Musikvetenskapliga Institutionen, Göteborg, 1979.
Details
Article Details
RIGHTS TRANSFER
By submitting the article for evaluation and subsequent publication in Communication & Society, the AUTHOR exclusively assigns the rights of public communication, reproduction, distribution and sale for commercial exploitation to the University of Navarra through its Publications Service, for the maximum legal term in force -the entire life of the author and seventy years after his death or declaration of death-, in any country, and in any of the current and future edition modalities, both in print and electronic versions.
In the event that the article is not accepted for publication , this transfer of rights lapses with the communication of the refusal to the AUTHOR.
The AUTHOR affirms that the article is unpublished, that it has not been sent simultaneously to another publication medium and that the rights have not been transferred exclusively previously. He is responsible to the University of Navarra through its Publications Service for the authorship and originality of his work, as well as for all pecuniary charges that may arise for the University of Navarra through its Publications Service, in favor of third parties due to actions, claims or conflicts arising from the breach of obligations by the AUTHOR.
