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Between 1895 and 1929, more than 15,000 motion pictures were made in the United States. We call these works “silent films,” but they were accompanied by an enormous body of music, including works adapted or arranged from pre-existing works, as well as newly composed pieces for theater orchestras, organists, or pianists. While many films and pieces are lost, a considerable amount of material remains extant and available for use in research and performance. Music for Silent Film: A Guide to North American Resources is a unique resource on North American archives and English-language materials available in for those interested in this repertoire. Part I contains information about archives of primary source materials including full and compiled scores, sheet music, published anthologies of music, interviews with cinema musicians, periodicals, and instruction books. Part II surveys the English-language scholarship on silent film music in articles, book chapters, essay collections, and monographs through 2015. The book is fully indexed for ease of access to these important sources on film music.
Ever since television became practical in the early 1950s, closed-circuit television (CCTV) in conjunction with the light microscope has provided large screen display, raised image contrast, and made the images formed by ultraviolet and infrared rays visible. With the introduction of large-scale integrated circuits in the last decade, TV equipment has improved by leaps and bounds, as has its application in microscopy. With modem CCTV, sometimes with the help of digital computers, we can distill the image from a scene that appears to be nothing but noise; capture fluorescence too dim to be seen; visualize structures far below the limit of resolution; crispen images hidden in fog; measure, count, and sort objects; and record in time-lapsed and high-speed sequences through the light microscope without great difficulty. In fact, video is becoming indispensable for harnessing the fullest capacity of the light microscope, a capacity that itself is much greater than could have been envisioned just a few years ago. The time seemed ripe then to review the basics of video, and of microscopy, and to examine how the two could best be combined to accomplish these tasks. The Marine Biological Laboratory short courses on Analytical and Quantitative Light Microscopy in Biology, Medicine, and the Materials Sciences, and the many inquiries I received on video microscopy, supported such an effort, and Kirk Jensen of Plenum Press persuaded me of its worth.
Across the academy, scholars are debating the question of what bearing scientific inquiry has upon the humanities. The latest addition to the AFI Film Readers series, Cognitive Media Theory takes up this question in the context of film and media studies. This collection of essays by internationally recognized researchers in film and media studies, psychology, and philosophy offers film and media scholars and advanced students an introduction to contemporary cognitive media theory—an approach to the study of diverse media forms and content that draws upon both the methods and explanations of the sciences and the humanities. Exploring topics that range from color perception to the moral appraisal of characters to our interactive engagement with videogames, Cognitive Media Theory showcases the richness and diversity of cognitivist research. This volume will be of interest not only to students and scholars of film and media, but to anyone interested in the possibility of a productive relationship between the sciences and humanities.
Translation and Multimodality: Beyond Words is one of the first books to explore how translation needs to be redefined and reconfigured in contexts where multiple modes of communication, such as writing, images, gesture, and music, occur simultaneously. Bringing together world-leading experts in translation theory and multimodality, each chapter explores important interconnections among these related, yet distinct, disciplines. As communication becomes ever more multimodal, the need to consider translation in multimodal contexts is increasingly vital. The various forms of meaning-making that have become prominent in the twenty-first century are already destabilising certain time-honoured translation-theoretic paradigms, causing old definitions and assumptions to appear inadequate. This ground-breaking volume explores these important issues in relation to multimodal translation with examples from literature, dance, music, TV, film, and the visual arts. Encouraging a greater convergence between these two significant disciplines, this text is essential for advanced students and researchers in Translation Studies, Linguistics, and Communication Studies.