UC Press Music Journals Celebrate American Music

As musicologists gather in Montreal for the Society for American Music conference, UC Press’s music journals are pleased to make select content available to non-subscribers for a limited time. Please enjoy our #AmMusic17 offerings from the Journal of the American Musicological Society, the Journal of Musicology, Music Perceptionand 19th-Century Music.

Film Scholars gathering in Chicago for the annual meeting of the Society for Cinema and Media Studies will also find some articles of interest in the offerings below and should see our separate post with offerings from Film Quarterly and Feminist Media Histories.


The Journal of the American Musicological Society is proud to have been the recipient of six Irving Lowens Article Awards from the Society for American Music since 1997. Read these articles for free through the end of March:

Sam Cooke as Pop Album Artist—A Reinvention in Three Songs
Mark Burford
Vol. 65 No. 1, Spring 2012

The Testimonial Aesthetics of Different Trains
Amy Lynn Wlodarski
Vol. 63 No. 1, Spring 2010

Louis Armstrong, Eccentric Dance, and the Evolution of Jazz on the Eve of Swing
Brian Harker
Vol. 61 No. 1, Spring 2008

Henry Cowell and John Cage: Intersections and Influences, 1933–1941
Leta E. Miller
Vol. 59 No. 1, Spring 2006

The Early Life and Career of the “Black Patti”: The Odyssey of an African American Singer in the Late Nineteenth Century
John Graziano
Vol. 53 No. 3, Autumn, 2000

For Those We Love: Hindemith, Whitman, and “An American Requiem”
Kim H. Kowalke
Vol. 50 No.1, Spring 1997


The Journal of Musicology is pleased to make the following articles, which look at various aspects of American music (including an article on Irving Berlin’s Holiday Inn) free through the end of March:

Consensus and Crisis in American Classical Music Historiography from 1890 to 1950
David C. Paul
Vol. 33 No. 2, Spring 2016

On the Scenic Route to Irving Berlin’s Holiday Inn (1942)
Todd Decker
Vol. 28 No. 4, Fall 2011

University Geographies and Folk Music Landscapes: Students and Local Folksingers at the University of Illinois at Urbana-Champaign, 1961–1964
David K. Blake
Vol. 33 No. 1, Winter 2016

Grasp the Weapon of Culture! Radical Avant-Gardes and the Los Angeles Free Press
Andre Mount
Vol. 32 No. 1, Winter 2015


Music Perception offers the following articles free through month’s end:

Viewers’ Interpretations of Film Characters’ Emotions: Effects of Presenting Film Music Before or After a Character is Shown
Siu-Lan Tan, Matthew P. Spackman, Matthew A. Bezdek
Vol. 25 No. 2, December 2007

Swing Rhythm in Classic Drum Breaks From Hip-Hop’s Breakbeat Canon 
by Andrew V. Frane
Vol 34 No. 3, February 2017

Rhythm in the Speech and Music of Jazz and Riddim Musicians
Angela C. Carpenter, Andrea G. Levitt
Vol. 34 No. 1, September 2016

The Asymmetrical Influence of Timing Asynchrony of Bass Guitar and Drum Sounds on Groove
Soyogu Matsushita, Shingo Nomura
Vol. 34 No. 2, December 2016


19th-Century Music celebrates #AmMusic17 and #SCMS17 by offering a selection of articles on American film music. As with the articles above, you can read the following for free through the end of the month:

Black Voices, White Women’s Tears, and the Civil War in Classical Hollywood Movies
Robynn J. Stilwell
Vol. 40 No. 1, Summer 2016

Screwball Fantasia: Classical Music in Unfaithfully Yours
Martin Marks
Vol. 34 No. 3, Spring 2011

Listening to the Self: The Shawshank Redemption and the Technology of Music
Daniel K. L. Chua
Vol. 34 No. 3, Spring 2011


Cinema & Soundtracks: FMH and FQ Celebrate #SCMS17

With the annual meeting of the Society for Cinema & Media Studies beginning this week in Chicago, UC Press journals Feminist Media Histories and Film Quarterly are pleased to offer a collection of limited-time free articles on cinema, soundtracks, and film music. Enjoy free access to these articles today through the end of the meeting on March 26, and be sure to meet the editors if you are attending #SCMS17!


Feminist Media Histories

Editor: Shelley Stamp, University of California, Santa Cruz

SCMS Attendees: Connect with FMH at SCMS 2017!

  • Meet the Editor, Shelley Stamp, to discuss publishing your work in FMH, at the UC Press booth on Friday, 3/24 from 11:00am-12:00pm.
  • Don’t miss the announcement of the winner of the 2016 SCMS Women’s Caucus Graduate Student Writing Prize (co-sponsored by FMH) at the SCMS Women’s Caucus Meeting!

 

In Defense of Voicelessness: The Matter of the Voice and the Films of Leslie Thornto
Pooja Rangan
Summer 2015, Vol. 1 No. 3

Tinkering with Cultural Memory: Gender and the Politics of Synthesizer Historiography
Tara Rodgers
Fall 2015, Vol. 1 No. 4

Backpacking Sounds: Sneha Khanwalkar and the “New” Soundtrack of Bombay Cinema
Shikha Jhingan
Fall 2015, Vol. 1 No. 4

Nené Cascallar’s Thirsty Heart: Gender, Voice, and Desire in a 1950s Argentine Radio Serial
Christine Ehrick
Fall 2015, Vol. 1 No. 4


Just in time for #SCMS17, Film Quarterly, edited by B. Ruby Rich, is delighted to unveil a newly redesigned website at filmquarterly.org. The refreshed site is fully device responsive and features a stronger visual component with full integration of social media, audio, and video. Full journal content continues to be housed at fq.ucpress.edu, but subscribers and non-subscribers alike are invited to read a curated selection of articles and web-only features on the new filmquarterly.org site.

Given that the annual conferences for both SCMS and the Society for American Music are being held this week, Film Quarterly’s editors would like to call your attention to a selection of articles (all available for free on filmquarterly.org) that should interest attendees of both #SCMS17 and #AmMusic17.

One Step Ahead: A Conversation with Barry Jenkins,
Michael Boyce Gillespie’s interview with the director of the Academy Award-winning Moonlight appears in the newly published Spring issue of Film Quarterly (read online or stop by the UC Press booth at SCMS to peruse a print copy).

Jewish, Queer-ish, Trans, and Completely Revolutionary: Jill Soloway’s Transparent and the New Television
Amy Villarejo
Summer 2016, Vol. 69 No. 4

The Master’s Voice
Claudia Gorbman
Winter 2014, Vol. 68 No. 2

Giving Credit to Paratexts in Top of the Lake and Orange Is the New Black
Kathleen McHugh
Spring 2015, Vol. 68 No. 3

Walking, Talking, Singing, Dancing, Exploding . . . and Silence: Chantal Akerman’s Sountracks
Barbara McBane
Fall 2016, Vol. 70 No. 1


A Film Noir Reading (and Viewing) List

In lead up to to the Society for Cinema and Media Studies annual conference and film noir festivals in various cities this month, we’ve put together a reading list of Hollywood film history titles, along with some suggested movies to view with them.

Come visit our booth in Chicago to save 40% on these and other Cinema and Media Studies titles.


Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles by Jon Lewis

“Lewis trenchantly probes Hollywood’s underworlds: grifters, gossip-mongers, and gangsters, loners and losers—bodies ‘left by the side of the road.’ A fascinating rewriting of Hollywood history, especially around production culture, including cultures of failure and despair.” —Dana Polan, New York University

Hard-Boiled Hollywood focuses on the lives lost at the crossroads between a dreamed-of Los Angeles and the real thing after the Second World War, where reality was anything but glamorous.

Suggested film screenings: Sunset Boulevard, In a Lonely Place, and The Big Knife


Edgar G. Ulmer: A Filmmaker at the Margins by Noah Isenberg

“A page turner of a biography.”—New York Times

“Isenberg’s writing…allows the monumental eccentricities of Ulmer’s underground journey to shine through.”—Bookforum

“Ulmer finally gets the attention and scholarship he deserves.”—The Credits

Suggested film screenings: Detour, The Black Cat, and People on Sunday


More Than Night: Film Noir in Its Contexts by James Naremore

“Supplies the first study of film noir that achieves the sort of intellectual seriousness, depth of research, degree of critical insight, and level of writing that this group of films deserves.”—Tom Gunning, Modernism and Modernity

Naremore treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century.

Suggested film screenings: The Lost Weekend, Killer’s Kiss, and This Gun for Hire


Painting with Light by John Alton

“Provides fascinating insights into the mechanisms of the studio system.”—Reel Ink

Few cinematographers have had as decisive an impact on the cinematic medium as John Alton. First published in 1949, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivaled historical document on the workings of postwar American cinema.

Suggested film screenings: T-Men, He Walked By Night, and The Big Combo


Slow Fade to Black: The Decline of RKO Radio Pictures by Richard B. Jewell

“Jewell’s scholarship is impeccable and his text is plain-spoken and highly readable. Every studio deserves a similar examination; thank goodness the right man tackled this particular task.”—Leonard Maltin

Drawing on hard-to-access archival materials, Jewell chronicles the period from 1942 to the company’s demise in 1957. Towering figures associated with the studio included Howard Hughes, Orson Welles, Charles Koerner, Val Lewton, Jane Russell, and Robert Mitchum. In addition to featuring an extraordinary cast of characters, the RKO story describes key aspects of entertainment history: Hollywood’s collaboration with Washington, film noir, censorship, HUAC, the rise of independent film production, and the impact of television on film.

Suggested film screenings: The Big Steal, Notorious, and Split Second


Feminist Media Histories Celebrates Women’s History Month

To celebrate Women’s History Month Feminist Media Histories will be highlighting articles from past issues. Each Tuesday and Thursday throughout the month of March one FMH article will be free to download for 48 hours. We begin with Chika Kinoshita’s article, “Something More Than A Seduction Story: Shiga Akiko’s Abortion Scandal and Late 1930s Japanese Film Culture,” published in the inaugural issue two years ago and available now. A stunning example of how feminist media history can illuminate histories of stardom and moviegoing, while demonstrating the centrality of movie culture to larger discussions of gender and politics in many global contexts. Other articles featured this month will highlight writing on the cinema by filmmaker Esfir Shub and Ms. Magazine critics, the unsung work of female costume designers and radio pioneers, the challenge of digital preservation, lesbian film distribution in the 1970s, contemporary cyberfeminism in Iran and much more.

Featured articles will also showcase the range of special issues published by FMH, including Women and Soundwork, Histories of Celebrity, Materialisms, Found Footage, and Archives and Archivists.

Follow Feminist Media Histories on Facebook and Twitter to catch every free download this month. And watch for future issues on Gender + Comedy, Data, and Comics.

— Shelley Stamp
Editor, Feminist Media Histories


Shelley Stamp Wins Prize for Work in Media and History from IAMHIST

Shelley Stamp’s acclaimed book, Lois Weber in Early Hollywood, recently won the juried 2017 Michael Nelson Prize from the International Association for Media and History (IAMHIST).

The prize is awarded biennially to the book “making the best contribution on the subject of media and history “, and the names of the winners will be published in the association’s Historical Journal of Film, Radio and Television as well as displayed in the universities of teaching members of IAMHIST.

Lois Weber in Early Hollywood is an essential addition to histories of silent cinema, early filmmaking in Los Angeles, and women’s contributions to American culture.”—IAMHIST 2017

Congratulations to Shelley for this recognition—she will be accepting the prize at the 2017 IAMHIST conference in Paris.


Shelley Stamp is author of Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon; coeditor of American Cinema’s Transitional Era: Audiences, Institutions, Practices; and founding editor of Feminist Media Histories: An International Journal. She is Professor of Film and Digital Media at the University of California, Santa Cruz, and she is also editor of Feminist Media Histories, published by UC Press.


What is the future of media art?

This post is part of a blog series celebrating the College Art Association annual conference taking place in New York City from February 15–18. Please visit us at Booth 605 if you are attending, and otherwise stay tuned for more content related to our new and forthcoming Art books.


by Hanna Hölling, author of Paik’s Virtual Archive: Time, Change, and Materiality in Media Art

“In the future, the only artwork that will survive will have no gravity at all” maintained Nam June Paik, the acclaimed father of video art, in1980. He speculated that the art of the future, once liberated from the gravity of its material, will lack a “preservable” aspect. Paik’s prophetic statement seems to reflect the reality confronted by the many institutions collecting, displaying and preserving media. But how to grapple with well-rooted paradigms of material authenticity that for centuries embodied the artwork’s value? Or, in other words, what is the future of media art?

Media artworks based on film, video and computer code that incorporate playback and display technology confront us with the vulnerability and instability of their physical carriers and visual contents. Being in the process of continuous reinterpretation, rescription, and remediation, these artworks move between formats and platforms, seemingly unconcerned with the gravity of their physical carriers—the vehicles, as it were, of the artistic concept, a floating synthesis of the artist’s mind and the minds of all actors engaged in the work’s genesis. Media artworks—hybrid combinations of display and playback technologies— differ from traditional media such as painting and sculpture by not conforming to the traditional collecting, archiving and musealization processes. Changeable by nature, these works question the established views considering what an artwork is, or might be, what is being exhibited and preserved, and what enters the realm of cultural memory.

The future of ever-expanding digital memory comes upon us, an immortalization gesture of sorts, directed against forgetting and oblivion. The digital cloud, multi-nodal, networked internet, and the web-based platforms have already commenced generating—and forced us to get accustomed to—a multiplicity of artworks’ versions, variations, and clones. They lack reference to any of the familiar object-based (or objectified) strategies that for decades formed theories of traditional museum and conservation. In this new world, how can we ensure these works’ existence without fixing them in time and forcing them into the straightjacket of physical preservation? How can we avoid arresting them in time and simultaneously ensure their survival?

Nam June Paik’s legacy in the history of twentieth-century art rests on his introduction of the television and video as artistic media in the 1960s. His oeuvre encompasses global communication systems and combines elements of obsolescence and chance with the most sophisticated technical solutions of his time. At the time of this writing, only a few works by Paik remained in their original form and condition, and almost none of Paik’s works that still function are displayed with their original playback equipment.

It is, therefore, surprising that there was no major examination of the issues of the continuity of his media to date. Paik’s Virtual Archive strives to fill this gap. But rather than being a contestation with what is left there to be preserved, it encourages the reader to reflect on the preservation’s alternative futures and on the nature of the artworks (following the premise that to conserve an artwork signifies first and foremost to understand what it is). Paik’s Virtual Archive explores the way in which materiality can be conceived on the basis of the archive as inherently social and temporal construct: social because created in a network of people who collaborated with Paik on the creation, presentation, archiving and perpetuation of his artworks; temporal, because the kind of change his artworks experience is always bound with time—with its index manifest in the processes of decay and obsolescence and with the time of the artwork, its duration.


Hanna B. Hölling is Lecturer in the History of Art and Material Studies at the Department of History of Art, University College London. She was Andrew W. Mellon Visiting Professor, Cultures of Conservation, at the Bard Graduate Center in New York and Visiting Scholar at the Max Planck Institute for the History of Science. She teaches material culture, cultures of conservation, and postwar art history. Among her many publications is Revisions—Zen for Film.

Read reviews for Paik’s Virtual Archive, which released this week.


Society for Cinema Studies Recognizes UC Press Titles in 2017 Book Awards

When the Society for Cinema and Media Studies announced their 2017 award winners, we were honored and proud to see three books from UC Press in the mix.

Hearty congratulations to our team of talented authors and editors for this esteemed recognition, along with all the other winners from fellow university presses.

BEST EDITED COLLECTION

9780520284685Winner: L.A. Rebellion: Creating a New Black Cinema

Edited by Allyson Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart

“. . . a groundbreaking and highly readable compendium focused on the kaleidoscopic network of filmmakers based at UCLA between the 1960s and the 1990s. The collection opens up previously obscured historical pathways that deepen our knowledge of black American cinema, and should inspire further research and scholarship.”—Kraszna-Krausz Book Awards

 

 

9780520219083Award of Distinction: The Promise of Cinema: German Film Theory, 1907-1933

Edited by Anton Kaes, Nicholas Baer, and Michael Cowan

“A treasure trove of insights and ideas, this book uncovers the excitement cinema generated as the art form of modernity. Film studies may take years to digest the richness this volume contains—and I believe it will never be quite the same afterward.” —Tom Gunning, author of The Films of Fritz Lang: Allegories of Vision and Modernity

 

 

BEST FIRST BOOK AWARD

9780520279773Stealing the Show: African American Performers and Audiences in 1930s Hollywood

By Miriam J. Petty

 

“[Miriam Petty’s] ambitious book places Stepin’ Fetchit (the persona of Lincoln Perry) in a new light, and all of her subjects in high relief… [a] fine book.” —Carrie Rickey, Film Quarterly

 

 

If you are attending the annual conference in Chicago this year, please join in for the Awards Ceremony to celebrate their outstanding achievements!


Must-read articles for LGBTQ History Month

In celebration of LGBTQ History Month this October, enjoy free access to articles from Feminist Media Histories, a journal that examines the role gender has played in media technologies across a range of historical periods and global contexts. These must-read articles will be freely available throughout the month of October.


"Poster for Club de femmes (1936)." (From article)
Poster for Club de femmes (1936). (From article)

Proto-Queer Media Criticism: “Cinema Ramblings” from an RKO Secretary
Candace Moore
(Vol. 1, No. 1, Winter 2014)

Lisa Ben’s “Cinema Ramblings” in the 1940s underground publication Vice Versa mark some of the first media reviews to focus on homosexual themes, representations, and subtexts from a self-proclaimed lesbian perspective. While still largely unknown, the critical lenses and stylistic methods she employed set a precedent for the kind of radical queer media criticism that reviewers engage in today.

Mod Pop Methods: This Year’s Girl
Quinlan Miller
(Vol. 1, No. 1, Winter 2014)

This article reconstructs queer popular culture as a way of exploring media production studies as a trans history project. Miller argues that queer and trans insights into gender are indispensable to feminist media studies. The article looks at The Ugliest Girl in Town series (ABC, 1968–69), a satire amplifying a purported real-life fad in flat chests, short haircuts, and mod wigs, to restore texture to the everyday landscape of popular entertainment.

"Figure 5. FIGURE 5 11, 3, 5, 9, Lesbians are mighty fine' in Home Movie." (From article)
“11, 3, 5, 9, Lesbians are mighty fine” in Home Movie (1972). (From article)

Lesbian Feminist Cinema’s Archive and Moonforce Media’s National Women’s Film Circuit
Roxanne Samer
(Vol. 1, No. 2, Spring 2015)

This essay offers a microhistory of the feminist film distributor Moonforce Media. Between 1975 and 1980, Moonforce Media built the National Women’s Film Circuit, a lesbian feminist distribution system that circulated preconstituted packages of multigeneric feminist films through as wide a nontheatrical feminist U.S. market as possible.

“Feeling-Images”: Montage, Body, and Historical Memory in Barbara Hammer’s Nitrate Kisses
Alessandra Chiarini
(Vol. 2, No. 3, Summer 2016)

This essay investigates the ways in which Barbara Hammer’s film Nitrate Kisses (1992) traces stories about homosexuality throughout the twentieth century. Inspired both by the concept of “vertical cinema,” as theorized by Maya Deren, and by the historical-philosophical reflections of Michel Foucault and Walter Benjamin, Hammer realizes a montage process in Nitrate Kisses that resurrects a forgotten historical memory through the juxtaposition of archival materials and original images. It is a memory that is reappropriated through the film as an experiential, tactile, and emotional moment.


1.cover-source-1Want more free articles from Feminist Media Histories? Follow FMH on Facebook and Twitter for free weekly downloads from the latest issue.


50th Anniversary of Star Trek, the “Television Show”

By Roberta Pearson and Máire Messenger Davies, authors of Star Trek and American Television

‘It’s a television show’—said William Shatner (Captain Kirk) to us when we interviewed him for our book, Star Trek and American Television, in 2002. He didn’t mean to be dismissive, he didn’t mean it was just a television show; he was pointing out that Star Trek—despite the movies, the games, the fans, the spoofs—was, and is, primarily culturally important as a product of television. It’s worth being reminded of this fact especially this year—the 50th anniversary of Star Trek, the original series (TOS) being launched on the NBC TV network.

9780520276222

We love Star Trek—but it’s always been the TV show that was most special to us, both as viewers and as scholars. That’s why, when it came to writing a book about Star Trek, we decided to take Bill Shatner’s assertion as our mantra and named our book Star Trek and American Television. At first we thought of simply calling it Star Trek as Television. But as we researched the history of the show—and especially after talking to many of its leading lights, including founder-producers such as Robert Justman and Herb Solow, (alas, Gene Roddenberry was dead by the time we got round to researching the book)—we realized that the story of Star Trek was also a way of telling the story of American television more broadly.

The show started in the era of the three networks, made by a production company run by one of the most iconic and beloved of all TV stars, Lucille Ball, and it was not a ratings success. But, prophetically, it found a dedicated audience of fans who helped to keep the show alive in syndication. In the 1980s and 90s, with The Next Generation, Deep Space Nine and Voyager, it progressed through the cable era, and on into the era of channel abundance brought about by digital technology. Along the way, it changed ownership several times, and ironically, it is now the property of CBS, who turned the original series down in the 1960s. Simply following the twists and turns of fortune involving the show’s ownership was a story in itself—as the early chapters of our book discuss.

It was a great privilege to talk to so many of the people involved in the show. We had especially privileged access to the stars of The Next Generation who were making the final film in the TNG series, Nemesis, when we did our Hollywood research. Thanks to introductions from Sir Patrick Stewart, Captain Jean Luc Picard in TNG, who kindly wrote a foreword for our book, we were able to talk to actors, producers, technicians, set builders, designers, makeup artists, writers, and directors—all of whom had fascinating insights into the series, into their own particular roles in it, and into why the Star Trek phenomenon has been so enduringly popular. Generous interviews given by stars such as Sir Patrick himself, Jonathan Frakes, William Shatner and Marina Sirtis are extensively quoted in our book.

The last TV series, Enterprise, had just started production when we visited Hollywood to meet these Star Trek luminaries, and it was cancelled after only four seasons. It seemed as if the future of Star Trek had to be in the new film series directed by J. J. Abrams and that its primary identity as television was over. But Star Trek as television was never going to die; all the previous series continue in syndication around the world—and a new TV series, Star Trek: Discovery, will premiere on CBS in January, 2017*. As we say at the end of our book: “Whatever happens in the future, we would bet all our gold-pressed latinum, several bottles of Saurian brandy and a few dilithium crystals that Star Trek will live long and prosper!”


* Note that you can currently stream a few free episodes from each Star Trek television series in honor of the anniversary and upcoming new series.

To get a copy of Star Trek and American Television, visit your local bookstore, or purchase online at IndieBoundAmazonBarnes & Noble, or UC Press (to save 30% on ucpress.edu, enter discount code16M4197 at checkout).


Roberta Pearson is Professor of Film and Television Studies at the University of Nottingham and author of several books, including A Critical Dictionary of Film and Television Theory.

Máire Messenger Davies is Professor Emerita of Media Studies at University of Ulster and author of Children, Media, and Culture.


Recognition from the Theatre Library Association

UC Press is proud to have been recognized by the Theatre Library Association‘s 2015 Book Awards.

Lois Weber in Early Hollywood by Shelley Stamp was awarded a Special Jury Prize for the 2015 Richard Wall Award, for an exemplary work in the field of recorded performance.

In order to distinguish the Theatre Library Association’s awards from other associations that focus on theoretical scholarship, jurors are asked to nominate only those books that provide evidentiary examples of an author’s use and interpretation of library/archival materials to support his/her topic. Library materials should be interpreted to mean any resources that libraries acquire—films, manuscripts, books, journals, reference books/databases, archives of ephemeral materials (e.g., newspapers, design sketches, playbills, posters)—in either their original format or in digital or other reproductions. As an association committed to furthering the advancement of archivists and librarians, as well as highlighting the diverse collections we maintain, the focus of TLA’s awards is on shining a light on the profession and the collections they make accessible and preserve.

Additionally, Menus for Movieland: Newspapers and the Emergence of Film Culture, 1913–1916, was a finalist for the 2015 Wall Award.

Congratulations to all the nominees and award-winners—we’re thrilled to be in such good company.