Reba Wissner – författare

In this edited volume, contributors explore an essential element of the influential television series Twin Peaks: the role of music and sound. From its debut in 1990 to its return to television in 2017, Twin Peaks has amassed a cult following, and inspired myriad scholarly studies. This collection considers how the music and sound design not only create the ambience of this ground-breaking series, but function in the narrative, encouraging multiple interpretations. With chapters that consider how music shapes the relationship of audiences and fans to the story, the importance of sound design, and the symbolism embedded in the score, this book provides a range of perspectives for scholars of music and film studies, while giving fans new insight into an iconic television show.

In this edited volume, contributors explore an essential element of the influential television series Twin Peaks: the role of music and sound. From its debut in 1990 to its return to television in 2017, Twin Peaks has amassed a cult following, and inspired myriad scholarly studies. This collection considers how the music and sound design not only create the ambience of this ground-breaking series, but function in the narrative, encouraging multiple interpretations. With chapters that consider how music shapes the relationship of audiences and fans to the story, the importance of sound design, and the symbolism embedded in the score, this book provides a range of perspectives for scholars of music and film studies, while giving fans new insight into an iconic television show.

Director David Lynch is best known for films that channel the uncanny and the weird into a distinct "Lynchian" aesthetic, in which sound and music play a key role: Lynch not only writes his intended sounds into the script but also often takes on the role of creating the sounds himself. This concise study explores what makes Lynch’s sonic imprint distinct, breaking down three different sound styles that create Lynch’s sound aesthetic across his films. Showing how sound offers new insights into the aesthetic and narrative work of Lynch’s filmmaking, this book highlights new dimensions in the work of a key American auteur and deconstructs the process of building a unique sound world.

Director David Lynch is best known for films that channel the uncanny and the weird into a distinct "Lynchian" aesthetic, in which sound and music play a key role: Lynch not only writes his intended sounds into the script but also often takes on the role of creating the sounds himself. This concise study explores what makes Lynch’s sonic imprint distinct, breaking down three different sound styles that create Lynch’s sound aesthetic across his films. Showing how sound offers new insights into the aesthetic and narrative work of Lynch’s filmmaking, this book highlights new dimensions in the work of a key American auteur and deconstructs the process of building a unique sound world.

Adaptation, Rearrangement, and Music Across Screen Media explores the various ways in which adaptation and rearrangement shape the role of music across a range of screen media and communities of viewing. Many forms of audiovisual screen media are characterized by musical adaptation and rearrangement, constantly remixing and reusing pre-existing music in new and unexpected narrative contexts. This book shines a light on this practice and offers a wide-ranging overview of musical adaptation as a practice across film, television, video games, and online media, and identifies several key approaches to understanding its manifestations.With contributors from musicology, ethnomusicology, music theory, sound studies, media, and gender studies, this volume illuminates one of the key features of music’s role in the contemporary audiovisual media landscape. It will be of interest to scholars in musicology, media studies, and sound studies, as well as those in studying screen media and music.

During the 1950s and 1960s, the Cold War and the potential for nuclear attack were on everyone’s mind. It should therefore come as no surprise that despite an initial reluctance, several television shows that aired during this period focused on the atomic and hydrogen bombs ("the Bomb") and their potential for destruction. Music and the Atomic Bomb on American Television, 1950-1969 is the first book to consider the important role that music and sound play in the destruction narratives about the Bomb on Cold War-era television. This book not only examines the television shows that deal with the nuclear weapons in various forms and genres, but also contextualizes these shows through an analysis of primary source documents such as government pamphlets and documents, newspaper and periodical reports, presidential records, composer and television production records, and informational trade paperbacks.