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Acknowledgments
Overture / Arthur Knight and Pamela Robertson Wojcik
I. Popular vs. "Serious"
Cinema and Popular Song: The Lost Tradition / Rick Altman
Surreal Symphonies: "L'Age d'or and the Discreet Charms of Classical Music / Priscilla Barlow
"The Future's Not Ours to See": Song, Singer, and Labryinth in Hitchcock's The Man Who Knew Too Much / Murray Pomerance
"You Think They Call Us Plastic Now. ": The Monkees and Head / Paul B. Ramaeker
II. Singing Stars
Real Men Don't Sing Ballads: The Radio Crooner in Hollywood, 1929-1933 / Allison McCracken
Flower of the Asphalt: The Chanteuse Realiste in 1930s French Cinema / Kelley Conway
The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema / Neepa Majumdar
III. Music as Ethnic Marker
Music as Ethnic Marker in Film: The "Jewish" Case / Andrew P. Killick
Sounding the American Heart: Cultural Politics, Country Music, and Contemporary American Film / Barbara Ching
Crossing Musical Borders: The Soundtrack for Touch of Evil / Jill Leeper
Documented/Documentary Asians: Gurinder Chadha's I'm British But. and the Musical Mediation of Sonic and Visual Identities / Nabeel Zuberi
IV. African American Identities
Class Swings: Music, Race, and Social Mobility in Broken Strings / Adam Knee
Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County / Krin Gabbard
V. Case Study: Porgy and Bess
It Ain't Necessarily So That It Ain't Necessarily So: African American Recordings of Porgy and Bess as Film and Cultural Criticism / Arthur Knight
"Hollywood Has Taken On a New Color": The Yiddish Blackface of Samuel Goldwyn's Porgy and Bess / Jonathan Gill
VI. Contemporary Compilations
Picturizing American Cinema: Hindi Film Songs and the Last Days of Genre / Corey K. Creekmur
Popular Songs and Comic Allusion in Contemporary Cinema / Jeff Smith
VII. Gender and Technology
The Girl and the Phonograph; or the Vamp and the Machine Revisited / Pamela Robertson Wojcik
Bibliography
Contributors
Index
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