No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 15 October 2009
1 Chion, Michel, Audio-Vision: Sound on Screen, ed. and trans. Gorbman, Claudia (New York: Columbia University Press, 1994)Google Scholar.
2 Dyer, Richard, Heavenly Bodies: Film Stars and Society, 2nd ed. (New York: Routledge, 2004), 2–3Google Scholar.
3 Hoberman, J., The Dream Life: Movies, Media, and the Mythology of the Sixties (New York: New Press, 2003)Google Scholar; O'Brien, Geoffrey, The Phantom Empire (New York: W. W. Norton, 1993)Google Scholar.
4 Mailer, Norman, “Superman Comes to Supermarket,” in Time of Our Time (New York: Modern Library, 1999), 343–83Google Scholar.
5 See especially Rogin, Michael, Ronald Reagan, the Movie, and Other Episodes in Political Demonology (Berkeley: University of California Press, 1987)Google Scholar.
6 Adorno, Theodor, “On the Fetish Character in Music and the Regression of Listening,” in The Culture Industry: Essays on Mass Culture, trans. Bernstein, J. M. (London: Routledge, 1991), 51Google Scholar.
7 David St. Hubbins [Michael McKean], This Is Spinal Tap, dir. Rob Reiner (MGM Home Entertainment 1000973, 1984, 2000).
8 Gorbman, Claudia, Unheard Melodies: Narrative Film Music (Bloomington: Indiana University Press, 1987)Google Scholar.
9 John Lennon, quoted in Wicke, Peter and Fogg, Rachel, Rock Music: Culture, Aesthetics, and Sociology (Cambridge: Cambridge University Press, 1990), 23CrossRefGoogle Scholar.