- Table View
- List View
Soul on the Street: An Autobiography
by William RoacheWilliam Roache has been an actor on Britain's best-loved soap opera, Coronation Street, for over 48 years – making him the world's longest- serving soap star. As a young actor William auditioned for a TV drama that was likely to be running for only a few weeks. Now, almost 50 years later, he is the only original cast member and the soap's success has established him as a household name. Over the course of that time, William's character Ken Barlow has been married four times, twice to Deirdre, and had a series of tumultuous affairs. This gripping autobiography will appeal to fans of 'The Street' and is an exciting insight into the spiritual influences that have shaped this much-loved actor. It will make inspiring reading for anyone interested in personal development.
Soulside: Washington, Dc, 1986-1989
by Alexis FleisigA photographic history of the DC-based 1980s punk rock band that recorded for Dischord Records. "If you know and love the band, this is a must, if you like DC punk bands, also." --Trust (Germany) Soulside, a band from the mid-1980s Dischord Records punk rock scene in Washington, DC, grew into maturity in a few short years, goin
Sound
by Jeff Smith Mark Kerins James Wierzbicki Vanessa Theme Ament Kathryn Kalinak Nathan Platte Jay BeckSound has always been an integral component of the moviegoing experience. Even during the so-called "silent era," motion pictures were regularly accompanied by live music, lectures, and sound effects. Today, whether we listen to movies in booming Dolby theaters or on tiny laptop speakers, sonic elements hold our attention and guide our emotional responses. Yet few of us are fully aware of the tremendous collaborative work, involving both artistry and technical wizardry, required to create that cinematic soundscape. Sound, the latest book in the Behind the Silver Screen series, introduces key concepts, seminal moments, and pivotal figures in the development of cinematic sound. Each of the book's six chapters cover a different era in the history of Hollywood, from silent films to the digital age, and each is written by an expert in that period. Together, the book's contributors are able to explore a remarkable range of past and present film industry practices, from the hiring of elocution coaches to the marketing of soundtrack records. Not only does the collection highlight the achievements of renowned sound designers and film composers like Ben Burtt and John Williams, it also honors the unsung workers whose inventions, artistry, and performances have shaped the soundscapes of many notable movies. After you read Sound, you'll never see--or hear--movies in quite the same way. Sound is a volume in the Behind the Silver Screen series--other titles in the series include Acting; Animation; Art Direction and Production Design; Cinematography; Costume, Makeup, and Hair; Directing; Editing and Special Visual Effects; Producing; and Screenwriting.
Sound Art: Concepts and Practices
by Thom HolmesSound Art offers the first comprehensive introduction to sound art written for undergraduate students. Bridging and blending aspects of the visual and sonic arts, modern sound art first emerged in the early 20th century and has grown into a thriving and varied field. In 13 thematic chapters, this book enables students to clearly grasp both the concepts behind this unique area of art, and its history and practice. Each chapter begins with an exploration of key ideas and theories, followed by an in-depth discussion of selected relevant works, both classic and current. Drawing on a broad, diverse range of examples, and firmly interdisciplinary, this book will be essential reading for anyone studying or teaching the theory, history, appreciation, or practice of sound art.
Sound Design and Sound Fiction
by William WhittingtonSound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design. This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented. Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games--milestones of the entertainment industry's technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.
Sound Design for Low & No Budget Films
by Patrick WintersDon’t let your indie film be sabotaged by bad sound! One of the weakest technical aspects of a low or no budget short or feature film is usually the sound, and in Sound Design for Low and No Budget Films, author Patrick Winters explains what filmmakers need to do to fix that. Learn how to improve the sound quality of your low budget film with specific tools and practices for achieving a better sound track, including detailed, step-by-step explanations of how to edit your production track, create a sound design, record and edit ADR, Foley and sound effects, music, and much more. Focusing on the essential details indie filmmakers need to know, Winters teaches you how to turn a thin and distracting sound track into one that makes your film shine. This practical guide offers: • In-depth focus on hands-on, step-by-step instruction for achieving great sound in post-production, including recording and editing sound effects, ADR and Foley—even without expensive equipment and software. • Techniques specifically designed for low and no budget projects, perfect for both students and aspiring indie filmmakers. • A simple and direct style that any aspiring filmmaker or student can understand without already knowing the industry jargon.
Sound Design for the Visual Storyteller: Creating Sound for Visual Media
by Christopher D. AndersonSound Design for the Visual Storyteller is an overview of the sound design process for the beginner filmmaker or storyteller, providing the foundational knowledge needed to succeed at utilizing and designing sound for visual stories, films, and even podcasts.With a focus on television and film, alongside references to podcast, theatre, event, and game sound design, this all-in-one overview begins with the fundamentals of sound and the structure of a professional sound design team, before exploring the practical topics of post-production, creative workflows, and distribution. Supported by a plethora of audio and video examples to demonstrate key concepts, this book guides aspiring sound designers on the power and production value of the well-conceived soundtrack and showcases some of the most effective techniques for getting there.This is an ideal introduction for storytellers working in a range of contexts, including filmmakers, sound designers, and sound editors, as well as students of sound for film and broadcast.
Sound Objects
by Rey Chow James A. SteintragerIs a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself. Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop
Sound Practices in the Global South: Co-listening to Resounding Plurilogues
by Budhaditya ChattopadhyayThis book develops a comprehensive understanding of the unique sound worlds of key regions in the Global South, through an auto-ethnographic method of self-reflective conversations with prominent sound practitioners from South Asia, Africa, the Middle East and Latin America. The conversations navigate various trajectories of sound practices, illuminating intricate sonic processes of listening, thinking through sounds, ideating, exposing, and performing with sound. This collection of conversations constitutes the main body of the book, including critical and scholarly commentaries on aural cultures, sound theory and production. The book builds a ground-up approach to nurturing knowledge about aural cultures and sonic aesthetics, moving beyond the Eurocentric focus of contemporary sound studies. Instead of understanding sound practices through consumption and entertainment, they are explored as complex cultural and aesthetic systems, working directly with the practitioners themselves, who largely contribute to the development of the sonic methodologies. Refocusing on the working methods of practitioners, the book reveals a tension between the West’s predominant colonial-consumerist cultures, and the collective desires of practitioners to resist colonial models of listening by expressing themselves in terms of their arts and craft, and their critical faculties.Conversations with: Clarence Barlow, Sandeep Bhagwati, Rajesh K. Mehta, Sharif Sehnaoui, Ximena Alarcón Díaz, Hardi Kurda, Mario de Vega, Luka Mukhavele, Khyam Allami, Cedrik Fermont, Khaled Kaddal, David Velez, Juan Duarte, Youmna Saba, Abdellah M. Hassak, Mariana Marcassa, Amanda Gutiérrez, Syma Tariq, Alma Laprida, Siamak Anvari, Mohamad Safa, Debashis Sinha, Zouheir Atbane, Constanza Bizraelli, Jatin Vidyarthi, Joseph Kamaru, Surabhi Saraf, Isuru Kumarasinghe, Hemant Sreekumar.
Sound Reporting, Second Edition: The NPR Guide to Broadcast, Podcast and Digital Journalism
by Jerome SocolovskyAn indispensable guide to audio journalism grounded in NPR’s journalistic values and practices, with tips and insights from its top reporters, hosts, editors, producers, and more. A lot has changed in media in recent years, but one thing that remains steadfast is National Public Radio’s (NPR) position as a trusted source of news in the United States. Now producing dozens of shows and podcasts, plus livestreams and coverage on other media platforms, NPR is the leading authority on reporting, writing, and delivering audio news and storytelling to today's diverse audiences. In this completely revised guide, audio journalism trainer Jerome Socolovsky offers a look into just how NPR does it, following the same journey a story would from idea to the moment it reaches its listeners. Based on more than eighty interviews with producers, reporters, editors, hosts, and other NPR staffers, Sound Reporting reveals how stories get pitched; how they are reported, produced, written, edited, voiced, and tailored to multiple media formats; and how shows and podcasts are put together. It begins with a presentation of NPR's values and includes a new chapter on journalist safety, a topic of timely importance. Podcasts, now part of the mainstream of the media universe, are treated alongside traditional programs throughout. In these pages, the voices of NPR staff offer a glimpse into their profession. Discover how correspondent Ruth Sherlock overcame seemingly insurmountable odds as she raced to the scene of a devastating earthquake in Turkey, the four main ways Ramtin Arablouei incorporates music into podcasts, and how “Weekend Edition” host Ayesha Rascoe touches listeners so deeply she received a pair of homemade potholders in the mail from one of them. Reading this book is like sitting in a room full of top-notch producers, seasoned correspondents, trusted hosts, and rigorous editors—all telling you inspiring stories about their craft to help you learn from their experience. At a time when the legitimacy and authority of journalism are under critique, transparency into how the news is made is more important than ever. This book offers a fascinating look behind the scenes at a premier public media organization and will be a trusted resource for anyone in or exploring a future in audio journalism.
Sound Technology and the American Cinema: Perception, Representation, Modernity (Film and Culture Series)
by James LastraRepresentational technologies including photography, phonography, and the cinema have helped define modernity itself. Since the nineteenth century, these technologies have challenged our trust of sensory perception, given the ephemeral unprecedented parity with the eternal, and created profound temporal and spatial displacements. But current approaches to representational and cultural history often neglect to examine these technologies. James Lastra seeks to remedy this neglect.Lastra argues that we are nowhere better able to track the relations between capital, science, and cultural practice than in photography, phonography, and the cinema. In particular, he maps the development of sound recording from its emergence to its confrontation with and integration into the Hollywood film.Reaching back into the late eighteenth century, to natural philosophy, stenography, automata, and human physiology, Lastra follows the shifting relationships between our senses, technology, and representation.
Sound and Image: Aesthetics and Practices (Sound Design)
by Andrew Knight-HillSound and Image: Aesthetics and Practices brings together international artist scholars to explore diverse sound and image practices, applying critical perspectives to interrogate and evaluate both the aesthetics and practices that underpin the audiovisual. Contributions draw upon established discourses in electroacoustic music, media art history, film studies, critical theory and dance; framing and critiquing these arguments within the context of diverse audiovisual practices. The volume’s interdisciplinary perspective contributes to the rich and evolving dialogue surrounding the audiovisual, demonstrating the value and significance of practice-informed theory, and theory derived from practice. The ideas and approaches explored within this book will find application in a wide range of contexts across the whole scope of audiovisuality, from visual music and experimental film, to narrative film and documentary, to live performance, sound design and into sonic art and electroacoustic music. This book is ideal for artists, composers and researchers investigating theoretical positions and compositional practices which bring together sound and image.
Sound for Digital Video
by Arthur Baum Tomlinson HolmanAchieve professional quality sound on a limited budget! Harness all new, Hollywood style audio techniques to bring your independent film and video productions to the next level. In Sound for Digital Video, Second Edition industry experts Tomlinson Holman and Arthur Baum give you the tools and knowledge to apply recent advances in audio capture, video recording, editing workflow, and mixing to your own film or video with stunning results. This fresh edition is chockfull of techniques, tricks, and workflow secrets that you can apply to your own projects from preproduction through postproduction. New to this edition: A new feature on "true" 24p shooting and editing systems, as well as single vs. double-system recording A strong focus on new media, including mini-DVDs, hard disks, memory cards, and standard and high-definition imagery Discussion of camera selection, manual level control, camera and recorder inputs, location scouting, and preproduction planning Instruction in connectors, real-time transfers, and file-based transfers from DVDs, hard drives, and solid state media. Blu-Ray and HD tape formats for mastering and distribution in addition to file-based, DV, and DVD masters. A revamped companion website, www.focalpress.com/cw/holman, featuring recording and editing exercises, examples and sample tracks Whether you are an amateur filmmaker who wants to create great sound or an advanced professional in need of a reference guide, Sound for Digital Video, Second Edition is an essential addition to your digital audio tool belt.
Sound for Film and Television
by Tomlinson HolmanSound for Film and Television, Third Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science. This new edition has been completely updated to reflect the latest advances in HD technology, new hardware and software systems, new distribution methods, wireless sound capture, and more. Also, analog-related content has been reduced and transferred to the chapters covering historical techniques. Sections on troubleshooting and FAQs have been added to help you avoid common pitfalls in sound production. Written by one of Hollywood's leading sound experts, Sound for Film and Television provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstrating how they affect the day-to-day activities on a film or television set, in the editing room, and in the mix room. The accompanying audio DVD contains more than 50 tracks that demonstrate practical, real-world examples of key concepts presented in the book. A companion Web site provides further resources and information: http://booksite.focalpress.com/companion/Holman/SoundforFilmandTelevision/ Please use the access code located in the beginning of the book to register for access to the Web site.
Sound, Media, Ecology (Palgrave Studies in Audio-Visual Culture)
by Milena Droumeva Randolph JordanThis volume reads the global urban environment through mediated sonic practices to put a contemporary spin on acoustic ecology’s investigations at the intersection of space, cultures, technology, and the senses. Acoustic ecology is an interdisciplinary framework from the 1970s for documenting, analyzing, and transforming sonic environments: an early model of the cross-boundary thinking and multi-modal practices now common across the digital humanities. With the recent emergence of sound studies and the expansion of “ecological” thinking, there is an increased urgency to re-discover and contemporize the acoustic ecology tradition. This book serves as a comprehensive investigation into the ways in which current scholars working with sound are re-inventing acoustic ecology across diverse fields, drawing on acoustic ecology’s focus on sensory experience, place, and applied research, as well as attendance to mediatized practices in sounded space. From sounding out the Anthropocene, to rethinking our auditory media landscapes, to exploring citizenship and community, this volume brings the original acoustic ecology problem set into the contemporary landscape of sound studies.
Sound, Speech, Music in Soviet and Post-Soviet Cinema
by Masha Salazkina Lilya KaganovskyThis innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. Addressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.
Sound: An Acoulogical Treatise
by James A. Steintrager Michel ChionFirst published in French in 1998, revised in 2010, and appearing here in English for the first time, Michel Chion's Sound addresses the philosophical, interpretive, and practical questions that inform our encounters with sound. Chion considers how cultural institutions privilege some sounds above others and how spurious distinctions between noise and sound guide the ways we hear and value certain sounds. He critiques the tenacious tendency to understand sounds in relation to their sources and advocates "acousmatic" listening--listening without visual access to a sound's cause--to disentangle ourselves from auditory habits and prejudices. Yet sound can no more be reduced to mere perceptual phenomena than encapsulated in the sciences of acoustics and physiology. As Chion reminds us and explores in depth, a wide range of linguistic, sensory, cultural, institutional, and media- and technologically-specific factors interact with and shape sonic experiences. Interrogating these interactions, Chion stimulates us to think about how we might open our ears to new sounds, become more nuanced and informed listeners, and more fully understand the links between how we hear and what we do.
Soundies Jukebox Films and the Shift to Small-Screen Culture (Techniques of the Moving Image)
by Andrea J. KelleySoundies Jukebox Films and the Shift to Small-Screen Culture is the first and only book to position what are called “Soundies” within the broader cultural and technological milieu of the 1940s. From 1940 to 1946, these musical films circulated in everyday venues, including bars, bowling alleys, train stations, hospitals, and even military bases. Viewers would pay a dime to watch them playing on the small screens of the Panoram jukebox. This book expands U.S. film history beyond both Hollywood and institutional film practices. Examining the dynamics between Soundies’ short musical films, the Panoram’s film-jukebox technology, their screening spaces and their popular discourse, Andrea J. Kelley provides an integrative approach to historic media exhibition. She situates the material conditions of Soundies’ screening sites alongside formal considerations of the films and their unique politics of representation to illuminate a formative moment in the history of the small screen.
Soundies and the Changing Image of Black Americans on Screen: One Dime at a Time
by Susan DelsonIn the 1940s, folks at bars and restaurants would gather around a Panoram movie machine to watch three-minute films called Soundies, precursors to today's music videos. This history was all but forgotten until the digital era brought Soundies to phones and computer screens—including a YouTube clip starring a 102-year-old Harlem dancer watching her younger self perform in Soundies. In Soundies and the Changing Image of Black Americans on Screen: One Dime at a Time, Susan Delson takes a deeper look at these fascinating films by focusing on the role of Black performers in this little-known genre. She highlights the women performers, like Dorothy Dandridge, who helped shape Soundies, while offering an intimate look at icons of the age, such as Duke Ellington and Nat King Cole. Using previously unknown archival materials—including letters, corporate memos, and courtroom testimony—to trace the precarious path of Soundies, Delson presents an incisive pop-culture snapshot of race relations during and just after World War II.Perfect for readers interested in film, American history, the World War II era, and Black entertainment history, Soundies and the Changing Image of Black Americans on Screen and its companion video website (susandelson.com) bring the important contributions of these Black artists into the spotlight once again.
Sounding the Modern Woman: The Songstress in Chinese Cinema
by Jean MaFrom the beginning of the sound cinema era, singing actresses captivated Chinese audiences. In Sounding the Modern Woman, Jean Ma shows how their rise to stardom attests to the changing roles of women in urban modernity and the complex symbiosis between the film and music industries. The songstress--whether appearing as an opera actress, showgirl, revolutionary, or country lass--belongs to the lineage of the Chinese modern woman, and her forty year prevalence points to a distinctive gendering of lyrical expression in Chinese film. Ma guides readers through film history by way of the on and off-screen careers of many of the most compelling performers in Chinese film history, such as Zhou Xuan and Grace Chang, revealing the ways that national crises and Cold War conflict shaped their celebrity. As a bridge between the film cultures of prewar Shanghai and postwar Hong Kong, the songstress brings into view a dense web of connections linking these two periods and places that cut across the divides of war, national politics, and geography.
Soundpainting: Collaborative Creativity in Conducted Improvisation (Palgrave Studies in Sound)
by Anders EskildsenThis book explores Soundpainting, a multidisciplinary sign language for live composition and conducted improvisation, highlighting its role in facilitating creative, social interactions in music and other performative arts. Examining the meaning of Soundpainting’s syntax, the connection between constraints and creativity in hand signs, and the means for dynamic distribution and transformation of agency within ensembles, the book provides insight into the nature of cocreation and the organization of creative processes.
Sounds Like Helicopters: Classical Music in Modernist Cinema (SUNY series, Horizons of Cinema)
by Matthew LauExplores how modernist films use classical music in ways that restore the music's original subversive energy.Classical music masterworks have long played a key supporting role in the movies-silent films were often accompanied by a pianist or even a full orchestra playing classical or theatrical repertory music-yet the complexity of this role has thus far been underappreciated. Sounds Like Helicopters corrects this oversight through close interpretations of classical music works in key modernist films by Francis Ford Coppola, Werner Herzog, Luis Buñuel, Stanley Kubrick, Jean-Luc Godard, Michael Haneke, and Terrence Malick. Beginning with the famous example of Wagner's "Ride of the Valkyries" in Apocalypse Now, Matthew Lau demonstrates that there is a significant continuity between classical music and modernist cinema that belies their seemingly ironic juxtaposition. Though often regarded as a stuffy, conservative art form, classical music has a venerable avant-garde tradition, and key films by important directors show that modernist cinema restores the original subversive energy of these classical masterworks. These films, Lau argues, remind us of what this music sounded like when it was still new and difficult; they remind us that great music remains new music. The pattern of reliance on classical music by modernist directors suggests it is not enough to watch modernist cinema: one must listen to its music to sense its prehistory, its history, and its obscure, prophetic future.
Sounds Like Me: My Life (So Far) in Song
by Sara BareillesAn anniversary edition of The New York Times bestselling collection of essays by two-time Grammy Award winner, creator of Little Voice on Apple TV+, and star of Netflix&’s Girls5eva Sara Bareilles &“resonates with authentic and hard-won truths&” (Publishers Weekly)—and features new material on the hit Broadway musical Waitress.Sara Bareilles &“pours her heart and soul into these essays&” (Associated Press), sharing the joys and the struggles that come with creating great work, all while staying true to yourself. Imbued with humor and marked by Sara&’s confessional writing style, this essay collection tells the inside story behind some of her most popular songs. Well known for her chart-topper &“Brave,&” Sara first broke through in 2007 with her multi-platinum single &“Love Song.&” She has since released seven studio albums that have sold millions of copies and spawned several hits, not to mention creating and starring in the hit Broadway musical Waitress. &“A breezy, upbeat, and honest reflection of this multitalented artist&” (Kirkus Reviews), Sounds Like Me reveals Sara Bareilles, the artist—and the woman—on songwriting, soul-searching, and what&’s discovered along the way.
Sounds of Change
by Michael C. Keith Christopher H. SterlingWhen it first appeared in the 1930s, FM radio was a technological marvel, providing better sound and nearly eliminating the static that plagued AM stations. It took another forty years, however, for FM's popularity to surpass that of AM. In Sounds of Change, Christopher Sterling and Michael Keith detail the history of FM, from its inception to its dominance (for now, at least) of the airwaves.Initially, FM's identity as a separate service was stifled, since most FM outlets were AM-owned and simply simulcast AM programming and advertising. A wartime hiatus followed by the rise of television precipitated the failure of hundreds of FM stations. As Sterling and Keith explain, the 1960s brought FCC regulations allowing stereo transmission and requiring FM programs to differ from those broadcast on co-owned AM stations. Forced nonduplication led some FM stations to branch out into experimental programming, which attracted the counterculture movement, minority groups, and noncommercial public and college radio. By 1979, mainstream commercial FM was finally reaching larger audiences than AM. The story of FM since 1980, the authors say, is the story of radio, especially in its many musical formats. But trouble looms. Sterling and Keith conclude by looking ahead to the age of digital radio--which includes satellite and internet stations as well as terrestrial stations--suggesting that FM's decline will be partly a result of self-inflicted wounds--bland programming, excessive advertising, and little variety.When it first appeared in the 1930s, FM radio was a technological marvel, providing better sound and nearly eliminating the static that plagued AM stations. It took another forty years, however, for FM's popularity to surpass that of AM. In Sounds of Change, Christopher Sterling and Michael Keith detail the history of FM, from its inception to its dominance (for now, at least) of the airwaves.Initially, FM's identity as a separate service was stifled, since most FM outlets were AM-owned and simply simulcast AM programming and advertising. But the 1960s brought FCC regulations allowing stereo transmission and requiring FM programs to differ from those broadcast on co-owned AM stations. Branching out into experimental programming, FM soon attracted the counterculture movement, minority groups, and noncommercial public and college radio. By 1979, mainstream commercial FM was finally reaching larger audiences than AM. Recent decades have been FM's heyday. But trouble looms. Sterling and Keith conclude by looking ahead to the age of digital radio--which includes satellite and internet stations as well as terrestrial stations--suggesting that FM's eventual decline will be partly a result of self-inflicted wounds--bland programming, excessive advertising, and little variety.-->
South African National Cinema (National Cinemas)
by Jacqueline MaingardSouth African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, beginning with De Voortrekkers (1916) through to Mapantsula (1988) and films produced post apartheid, including Drum (2004), Tsotsi (2005) and Zulu Love Letter (2004). Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema’s role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg (1949) and Come Back, Africa (1959). Jacqueline Maingard also considers the effects of the apartheid state’s film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture. Illustrated throughout with excellent visual examples, this cinema history will be of value to film scholars and historians, as well as to practitioners in South Africa today.