Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. Acknowledgments ix
5. Overture 1
6. POPULAR VS. ‘‘SERIOUS’’
7. Cinema and Popular Song: The Lost Tradition 19
8. Surreal Symphonies: L’Age d’or and the Discreet Charms of Classical Music 31
9. ‘‘The Future’s Not Ours to See’’: Song, Singer, Labyrinth in Hitchcock’s The Man Who Knew Too Much 53
10. ‘‘You Think They Call Us Plastic Now . . .’’: The Monkees and Head 74
11. SINGING STARS
12. Real Men Don’t Sing Ballads: The Radio Crooner in Hollywood, 1929–1933 105
13. Flower of the Asphalt: The Chanteuse Réaliste in 1930s French Cinema 134
14. The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema 161
15. MUSIC AS ETHNIC MARKER
16. Music as Ethnic Marker in Film: The ‘‘Jewish’’ Case 185
17. Sounding the American Heart: Cultural Politics, Country Music, and Contemporary American Film 202
18. Crossing Musical Borders: The Soundtrack for Touch of Evil 226
19. Documented/Documentary Asians: Gurinder Chadha’s I’m British But . . . and the Musical Mediation of Sonic and Visual Identities 244
20. AFRICAN AMERICAN IDENTITIES
21. Class Swings: Music, Race, and Social Mobility in Broken Strings 269
22. Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County 295
23. CASE STUDY: PORGY AND BESS
24. ‘‘It Ain’t Necessarily So That It Ain’t Necessarily So’’: African American Recordings of Porgy and Bess as Film and Cultural Criticism 319
25. ‘‘Hollywood Has Taken on a New Color’’: The Yiddish Blackface of Samuel Goldwyn’s Porgy and Bess 347
26. CONTEMPORARY COMPILATIONS
27. Picturizing American Cinema: Hindi Film Songs and the Last Days of Genre 375
28. Popular Songs and Comic Allusion in Contemporary Cinema 407
29. GENDER AND TECHNOLOGY
30. The Girl and the Phonograph; or the Vamp and the Machine Revisited 433
31. Select Bibliography 455
32. Contributors 475
33. Index 479