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Who produces sound and music? And in what spaces, localities, and contexts? As the production of sound and music in the 21st century converges with multimedia, these questions are critically addressed in this new edited collection. This work features 16 brand-new articles by leading thinkers from the fields of music, audio engineering, anthropology, and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.

For a decade from 1955, Alfred Hitchcock worked almost exclusively with one composer: Bernard Herrmann. From The Trouble with Harry to the bitter spat surrounding Torn Curtain, the partnership gave us some of cinema’s most memorable musical moments, taught us to stay out of the shower, away from heights and never to spend time in corn fields. Consequently, fascination with their work and relationship endures fifty years later. This volume of new, spellbinding essays explores their tense working relationship as well as their legacy, from crashing cymbals to the sound of The Birds.The volume brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring new essays by leading scholars of Hitchcock’s work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb, and Jack Sullivan, the volume examines the working relationship between the pair and the contribution that Herrmann’s work brings to Hitchcock’s idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the collection explores approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann’s work with Hitchcock brought to this body of films.Partners in Suspense examines the significance, meanings, histories and enduring legacies of one of film history’s most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the essays in the collection examine the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways such a partnership inspires later work.

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.

Dawn of the DAW examines DIY recording studio practices past and present, with a focus on the concept of \"\"the studio as musical instrument\"\" the evolving role of the producer, and the implications of these practices for the field of music education.

InThe Long Take, Lutz Koepnick posits extended shot durations as a powerful medium for exploring different modes of perception and attention in our fast-paced world of mediated stimulations. Grounding his inquiry in the long takes of international filmmakers such as Béla Tarr, Tsai Ming-liang, Abbas Kiarostami, Apichatpong Weerasethakul, and Michael Haneke, Koepnick reveals how their films evoke wondrous experiences of surprise, disruption, enchantment, and reorientation. He proceeds to show how the long take has come to thrive in diverse artistic practices across different media platforms: from the work of photographer Hiroshi Sugimoto to the screen-based installations of Sophie Calle and Tacita Dean, from experimental work by Francis Alÿs and Janet Cardiff to durational images in contemporary video games. Deeply informed by film and media theory, yet written in a fluid and often poetic style,The Long Takegoes far beyond recent writing about slow cinema. In Koepnick's account, the long take serves as a critical hallmark of international art cinema in the twenty-first century. It invites viewers to probe the aesthetics of moving images and to recalibrate their sense of time. Long takes unlock windows toward the new and unexpected amid the ever-mounting pressures of 24/7 self-management.

\"Behind-the-scenes\" stories of ranting directors, stingy producers, temperamental actors, and the like have fascinated us since the beginnings of film and television. Today, magazines, websites, television programs, and DVDs are devoted to telling tales of trade lore—from on-set antics to labor disputes. The production of media has become as storied and mythologized as the content of the films and TV shows themselves. Production Studies is the first volume to bring together a star-studded cast of interdisciplinary media scholars to examine the unique cultural practices of media production. The all-new essays collected here combine ethnographic, sociological, critical, material, and political-economic methods to explore a wide range of topics, from contemporary industrial trends such as new media and niche markets to gender and workplace hierarchies. Together, the contributors seek to understand how the entire span of \"media producers\"—ranging from high-profile producers and directors to anonymous stagehands and costume designers—work through professional organizations and informal networks to form communities of shared practices, languages, and cultural understandings of the world. This landmark collection connects the cultural activities of media producers to our broader understanding of media practices and texts, establishing an innovative and agenda-setting approach to media industry scholarship for the twenty-first century. Contributors: Miranda J. Banks, John T. Caldwell, Christine Cornea, Laura Grindstaff, Felicia D. Henderson, Erin Hill, Jane Landman, Elana Levine, Amanda D. Lotz, Paul Malcolm, Denise Mann, Vicki Mayer, Candace Moore, Oli Mould, Sherry B. Ortner, Matt Stahl, John L. Sullivan, Serra Tinic, Stephen Zafirau \" Production Studies 's collection of insightful essays by academics from a range of disciplines presents a superb example of precisely the kind of complex, collaborative work their essays elucidate. Incorporating material from interviews with a range of industry professionals, interrogating both industry practices and the scholarship that has explored them, this book speaks to some of the most pressing issues in the current media studies agenda.\"-- Michele Hilmes , author of NBC: America's Network \"Arriving at a time when the analysis of cultural and material production, in all its forms, has perhaps never been so critical, this rich and diverse collection of essays is a vital contribution to media production studies. The contributors offer a variety of insightful accounts of production culture, approaching it from perspectives including anthropology, cultural studies, feminism, and political economy, and highlighting many different production modes, levels, and locales. Production Studies is the new benchmark for this important and rapidly evolving field, and will influence media scholars and practitioners for years to come.\"-- Derek Kompare , author of Rerun Nation: How Repeats Invented American Television Vicki Mayer is Assistant Professor of Communication at Tulane University. She is author of Producing Dreams , Consuming Youth: Mexican Americans and Mass Media . Miranda J. Banks is Assistant Professor of Visual and Media Arts at Emerson College. John Thornton Caldwell is Professor of Film, Television, and Digital Media at UCLA. He has authored and edited several books, including Televisuality: Style, Crisis and Authority in American Television , Electronic Media and Technoculture , New Media: Digitextual Theories and Practices , and Production Culture: Industrial Reflexivity and Critical Practice in Film and Television . Introduction: Production Studies: Roots and Routes, Vicki Mayer, Miranda Banks, and John Thornton Caldwell. Part One: Histories of Media Production Studies. 1. Bringing the Social Back In: Studies of Production Cultures and Social Theory, Vicki Mayer . 2. Industry-Level Studies and the Contributions of Gitlin’s Inside Prime Time , Amanda Lotz 3. Leo C. Rosten's Hollywood: Power, Status, and the Primacy of Economic and Social Networks in Cultural Production, John L. Sullivan. 4. Privilege and Distinction in Production Worlds: Copyright, Collective Bargaining, and Working Conditions in Media Making, Matt Stahl . Part Two: Producers: Selves and Others. 5. Self-Serve Celebrity: The Production of Ordinariess and the Ordinariness of Production in Reality Television, Laura Grindstaff. 6. Feminism Below-the-Line: Defining Feminist Production Studies, Miranda J. Banks. 7. It's Not TV, It’s Brand Management TV: The Collective Author(s) of the Lost Franchise, Denise Mann. 8. Showrunning the Doctor Who Franchise: A Response to Denise Mann, Christine Cornea . Part Three: Production Spaces: Centers and Peripheries. 9. Liminal Places and Spaces: Public/Private Considerations, Candace Moore. 10. \"Not in Kansas Anymore\": Transnational Collaboration in Television Science Fiction Production, Jane Landman . 11. Crossing the Border: Studying Canadian Television Production, Elana Levine. 12. Borders of Production Research: A Response to Elana Levine, Serra Tinic . Part Four: Production as Lived Experience. 13. Studying Sideways: Ethnographic Access in Hollywood, Sherry Ortner. 14. Audience Knowledge and the Everyday Lives of Cultural Producers in Hollywood, Stephen Zafirau 15. Lights, Camera, but Where’s the Action? Actor-Network Theory and the Production of Robert Connolly's Three Dollars , Oli Mould . 16. Both Sides of the Fence: Blurred Distinctions in Scholarhip and Production (A Portfoloio of Interviews), John Caldwell . The Craft Association, Paul Malcolm . Hollywood Assistanting, Erin Hill . The Writer's Room, Felicia D. Henderson . Select Bibliography. List of Contributors. Index.

\"This is the first collection of original critical essays devoted to exploring the misunderstood, neglected and frequently caricatured role played by the film producer. The editors' introduction provides a conceptual and methodological overview, arguing that the producer's complex and multifaceted role is crucial to a film's success or failure. The collection is divided into three sections where detailed individual essays explore a broad range of contrasting producers working in different historical, geographical, generic and industrial contexts. Rather than suggest there is a single type of producer, the collection analyses the rich variety of roles producers play, providing fascinating and informative insights into how the film industry actually works. This groundbreaking collection challenges several of the conventional orthodoxies of film studies, providing a new approach that will become required reading for scholars and students\"-- Provided by publisher.