Book Reviews

in Projections
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  • 1 University of Wisconsin–Madison jpsmith8@wisc.edu
  • 2 University of Kent D.J.Topp-29@kent.ac.uk
  • 3 gendler@gmail.com UCLA
  • 4 Oxford Brookes University fsticchi@brookes.ac.uk
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Giorgio Biancorosso, Situated Listening: The Sound of Absorption in Classical Cinema (Oxford: Oxford University Press, 2016), xi +246 pp., $55 (hardback), ISBN: 9780195374711.

Reviewed by Jeff Smith

Lea Jacobs, Film Rhythm after Sound: Technology, Music, and Performance (Oakland: University of California Press, 2015), 280 pp., $34.95 (paperback), ISBN: 9780520279650.

Reviewed by Dominic Topp

Miklós Kiss and Steven Willemsen, Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh: Edinburgh University Press, 2017), 240 pp., £70.00 (hardback), £19.00 (paperback), ISBN: 9781474406727.

Reviewed by Jason Gendler

Steffen Hven, Cinema and Narrative Complexity: Embodying the Fabula (Amsterdam: Amsterdam University Press, 2017), 261 pp., 22.00 (paperback), ISBN 9789462980778.

Reviewed by Francesco Sticchi

Contributor Notes

Jeff Smith is a Professor in the Department of Communication Arts at the University of Wisconsin–Madison and the Director of the Wisconsin Center for Film and Theater Research. He is the author of two books, The Sounds of Commerce: Marketing Popular Film Music and Film Criticism, the Cold War, and the Blacklist: Reading the Hollywood Reds. He is also a coauthor, along with David Bordwell and Kristin Thompson, of the 11th edition of Film Art: An Introduction. Email: jpsmith8@wisc.edu

Dominic Topp is an Associate Lecturer in Film Studies at the University of Kent. He obtained his PhD in 2015 with a thesis on the political cinema of Jean-Luc Godard and the Dziga Vertov Group, and is currently researching the aesthetics of postwar French cinema. His writing on film has appeared in Projections and Significação: Revista de Cultura Audiovisual. Email: D.J.Topp-29@kent.ac.uk

Jason Gendler is an Adjunct Professor of film and television, teaching graduate seminars at UCLA and undergraduate courses at Otis College of Art and Design and CSU, Long Beach. He has published articles on narrative and style in film and television in Projections, the AFI reader Color and the Moving Image, and Nebula. Email: gendler@gmail.com

Francesco Sticchi obtained his PhD in Film Studies at Oxford Brookes University. He works as Associate Lecturer at the same institution. He is the author of the book Melancholy Emotion in Contemporary Cinema: A Spinozian Analysis of Film Experience (Routledge, 2019). He is also interested in the experiential use of Mikhail Bakhtin's chronotope, and he is currently working on an affective-ethical approach to examine how contemporary media culture addresses the concept of precarity. Email: fsticchi@brookes.ac.uk

Projections

The Journal for Movies and Mind

  • Chion, Michel. 1994. Audio-Vision: Sound on Screen. New York: Columbia University Press.

  • Marshall, Rick. 2017. “‘Baby Driver’ Was an Entire Film Built around Music: Here's How They Did It.” Digital Trends, 17 December 2017. https://www.digitaltrends.com/movies/baby-driver-music-sound-effects/.

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  • Bordwell, David. 2006. The Way Hollywood Tells It. Los Angeles: University of California Press

  • Bordwell, David. 2008. Poetics of Cinema. New York: Routledge.

  • Bordwell, David, and Kristin Thompson. 2013. Christopher Nolan: A Labyrinth of Linkages. Madison, WI: Irvington Way Institute Press.

  • Buckland, Warren, ed. 2009. Puzzle Films: Complex Storytelling in Contemporary Cinema. Oxford: Wiley-Blackwell.

  • Buckland, Warren, ed. 2014. Hollywood Puzzle Films. London: Routledge.

  • Mittell, Jason. 2015. Complex TV: The Poetics of Contemporary Television Storytelling. New York: New York University Press.

  • Bakhtin, Mikhail. 1981. The Dialogic Imagination. Trans. Carly Emerson and Michael Holquist. Austin: University of Texas Press.

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