Pop Fiction

Pop Fiction’s unique essays individually consider one song within a cinematic context. Unlike previous collected volumes about pop music in film, where a generalised approach has been adopted, this offers instead a close examination of two pervasive and significant mediums in combination.
The collection introspects, assembling the pop song into various guises and documenting how individuals dissemble the multiple roles that the pop song plays in cinematic moments. The song as: role-play, memory trigger, narrator, ghost, marketing device, translator, alienator, membership rite etc.
Within this tight structure, an international range of authorities from film, musicology, audio-visual design, contemporary art, cultural studies, sociology, and marketing.
All provide fresh insight towards the inter-textual fusion of film and song. Additionally the books form reduces the area of analysis to expose differences and similarities between these contrasting fields of study.
Innovative yet accessible, this exciting document would appeal to students, lecturers and researchers offering a diverse set of models with which to investigate the ‘ideogram’ of image/text/sound—a relationship which sits at the heart of most cultural production. For beginners, the book provides comforting areas of familiarity (pop song and film) while exploring areas of respective discipline and inter-disciplinary practice in an original manner.

Foreword Anahid Kassabian 
Introduction Steve Lannin and Matthew Caley 
Garibaldi Fought HereDave BeechI’m your man (Leonard Cohen 1988)
Dear Diary (Nanna Moretti 1993)
 
Heavy RotationMatthew CaleyThe End (The Doors 1967)
Apocalypse Now Redux (Ford-Coppola 1979/2001)
 
Two Jews Wander Through the SouthlandElizabeth C. HirschmanI am a Man of Constant Sorrow (Soggy Bottom Boys 2000)
O Brother Where Art Thou (Coen Brothers 2000)
 
The Ambi-Diegesis of ‘My Funny Valentine’Morris B. HolbrookMy Funny Valentine (Published 1937 Michelle Pfeiffer 1989 & Matt Damon 1999)
The Fabulous Baker Boys (Steve Klove 1989)
The Talented Mr. Ripley (Anthony Minghella 1999)
 
Music, Masculinity & MembershipIan InglisCan’t take my eyes off you (Frankie Valli 1967)
The Deer Hunter (Michael Cimino 1978)
 
Fluid Figures: How to See Ghost[s]Steve LanninUnchained Melody (The Righteous Brothers 1965)
Ghost (Jerry Zucker 1990)
 
Reap Just What You SoMiguel MeraPerfect Day (Lou Reed)
Trainspotting (Danny Boyle 1996)
 
Blonde Abjection: Spectatorship & the Abject Anal Space In-betweenPhil PowrieStuck in the Middle with You (Stealers Whell 1973)
Reservoir Dogs (Quentin Tarantino 1992)
 
Always Blue: Chet Baker’s VoiceJohn RobertsAlmost Blue (Chet Baker 1988)
Let’s Get Lost (Bruce Weber 1988)
 
From Bond to BlankJeff SmithLive and Let Die (Wings 1973)
Grosse Pointe Blank (George Armitage 1997)
 
Clean Reading: The Problematics of ‘In the Air Tonight’ in RiskyBusinessRobynn J. StilwellIn the Air Tonight (Phil Collins 1981)
Risky Business (Paul Brickman 1983)
 
Falling into ComaDavid ToopKarma Coma (Massive Attack 1994)
Fallen Angels (Wong Kar Wai 1995)
Contributors
Index