The Presence of the Past
Temporal Experience and the New Hollywood Soundtrack
Series: Oxford Music / Media;
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Product details:
- Publisher OUP USA
- Date of Publication 20 October 2021
- ISBN 9780190932688
- Binding Hardback
- No. of pages260 pages
- Size 162x240x19 mm
- Weight 513 g
- Language English 205
Categories
Short description:
This book is about American films from the late sixties and early seventies, how they use music and sound to foreground an imagined engagement with the lived immediacy of experience, and how this experience is related to the idea of the historical past.
MoreLong description:
The Presence of the Past offers a new perspective on Hollywood's "New Wave" as engaged with the vitality of sensory experience and the affective imagination. As author Daniel Bishop shows, the soundtracks of several key films of the New Hollywood Cinema of the late 1960s and 70s cultivated an array of sensibilities regarding the American past. This importance of the past exceeded the New Hollywood's acknowledged use of genre revisionism as a vehicle for timely ideological commentary. There was also a vital tendency in this era to locate the past as an object of imagined phenomenal presence.
Although this concept of the past never solidified into a self-conscious discourse, it was nevertheless woven into film culture, readable between the lines of criticism, cultural reception, New Wave aesthetics, and in the aesthetic and industrial transformations of sound design and film music. Bonnie and Clyde (1967), Butch Cassidy and the Sundance Kid (1969), McCabe and Mrs. Miller (1971), The Last Picture Show (1971), American Graffiti (1973), Chinatown (1974), and Badlands (1973) are not only key texts of an exciting era in American popular cinema. They are also mediations upon the presence of the past, an image central to the polarities of visceral energy and ambiguous ephemerality, of utopian dreams and melancholy resignation that characterized this cinema. These sensibilities of pastness engage in diverse ways with myth, nostalgia, paranoia, and existential alienation. They are, however, also united by a concern both with the experiential actuality of the past and with the distances that inevitably separate us from this actuality.
Daniel Bishop largely achieves the objectives set forth in the introduction, which makes The Presence of the Past a valuable read for scholars who specialize in film music and film philosophy. Scholars with a more general interest in film or who focus on the historical film may find Bishop's more musicological passages difficult. These scholars, however, can still benefit from The Presence of the Past, especially the first and fourth chapters. These chapters highlight ways to think more deeply, subtly, and profitably about the role of music and sound design in cinema, especially in terms of historical films.
Table of Contents:
Acknowledgements
Introduction: The Presence of the Past in the New Hollywood
Chapter 1: Bonnie and Clyde and the Aural Imagination of American Counterculture
Chapter 2: The Revisionist Western and the Mythic Past
Chapter 3: The Mythic Elements of Chinatown
Chapter 4: Radio, Memory, and the Past in the Nostalgia Film
Chapter 5: Badlands and the Music of Temporal Imminence
Bibliography
Index
