http:\/\/vimeo.com\/26497960<\/p>\n
Buskin, Richard. 1999. Inside Tracks: A First-hand History of Popular Music From the World\u2019s Greatest Record Producers and Engineers<\/em>. New York: Avon <\/em>Books.<\/p>\n Chanan, Michael. 1995. Repeated Takes: A Short History of Recording and its Effects on Music<\/em>. New York: Verso.<\/p>\n Clark, Rick. 1996. \u201cEmmylou Harris: The Making of Wrecking Ball<\/em>\u201d in Mix<\/em>. Vol. 20, No. 2, February 1996.<\/p>\n Cogan, Jim and William Clark. 2003. Temples of Sound: Inside the Great Recording Studios<\/em>. San Francisco: Chronicle Books.<\/p>\n Cunningham, Mark. 1996. Good Vibrations: A History of Record Production.<\/em> London: Sanctuary Publishing Ltd.<\/p>\n Daley, Dan. 1999. \u201cJohn Storyk: Thirty Years of Studio Design\u201d in Mix<\/em>. Vol. 23, no. 6, June 1999.<\/p>\n Doyle, Peter. 2005. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900-1960<\/em>. Middletown, CT: Wesleyan University Press.<\/p>\n Foucault, Michel. 1979. Discipline and Punish: The Birth of the Prison<\/em>. New York: Vintage Books.<\/p>\n Fyfe, Andy. 2003. When The Levee Breaks: The Making of Led Zeppelin’s IV<\/em>: Chicago: A Cappella Books.<\/p>\n Gaisberg, F.W. 1942. The Music Goes Round<\/em>. New York: The Macmillan Company.<\/p>\n Gill, Andy and Kevin Odegard. 2004. A Simple Twist Of Fate: Bob Dylan and the Making of Blood On The Tracks<\/em>. Cambridge, MA: Da Capo Press.<\/p>\n Granata, Charles L. 1999. Sessions with Sinatra: Frank Sinatra and the Art of Recording<\/em>. Chicago: A Cappella Books.<\/p>\n Katz, Mark. 2004. Capturing Sound: How Technology Has Changed Music<\/em>. Berkeley: University of California Press.<\/p>\n Kenney, William Howland. 1999. Recorded Music in American Life: The Phonograph and Popular Memory, 1890-1945<\/em>. New York: Oxford University Press.<\/p>\n Lewisohn, Mark. 1988. The Beatles Recording Sessions<\/em>. New York: Harmony Books.<\/p>\n Massey, Howard. 2000. Behind The Glass: Top Record Producers Tell How They Craft The Hits<\/em>. San Francisco: Miller Freeman Books.<\/p>\n Meintjes, Louise. 2003. Sound Of Africa!: Making Music Zulu in a South African Studio<\/em>. Durham, NC: Duke University Press.<\/p>\n Newell, Philip. 1998. Recording Spaces<\/em>. Oxford: Focal Press.<\/p>\n Philip, Robert. 2004. Performing Music in the Age of Recording<\/em>. New Haven: Yale University Press.<\/p>\n Porcello, Thomas. 1996. \u201cSonic Artistry: Music, Discourse, and Technology in the Sound Recording Studio.\u201d PhD Dissertation: University of Texas at Austin.<\/p>\n ______. 2003. \u201cTails Out: Social Phenomenology and the Ethnographic Representation of Technology in Music Making,\u201d in Music and Technoculture<\/em>, Rene T.A. Lysloff and Leslie C. Gay, Jr. eds. Middletown, CT: Wesleyan University Press.<\/p>\n Williams, Alan. 2007. \u201cDivide and Conquer: Power, Role Formation and Conflict in Recording Studio Architecture\u201d in The Journal of the Art of Record Production<\/em> Vol. 1 (i), Simon Frith, ed.<\/p>\n ______. 2010. “Pay Some Attention to the Mand Behind the Curtain” \u2013 Unsung Heroes and the Canonization of Process in the Classic Albums Documentary Series” in Journal of Popular Music Studies<\/em>, Vol. 22, Issue 2.<\/p>\n Zak, Albin J. 2001. The Poetics of Rock: Cutting Tracks, Making Records<\/em>. Berkeley: University of California Press.<\/p>\n A Star Is Born, <\/em>Warner Bros. 1954. <\/em><\/p>\n Aerosmith: The Making of Pump<\/em>, Columbia Music Video, 1990. <\/em><\/p>\n Boogie Nights, <\/em>New Line, 1997.<\/em><\/p>\n Coal Miner’s Daughter<\/em>, Universal, 1980.<\/em><\/p>\n I am Trying to Break Your Heart: A Film About Wilco By Sam Jones<\/em>, Plexifilm, 2003.<\/p>\n Jailhouse Rock<\/em>, Warner Bros., 1957.<\/p>\n Laurel Canyon<\/em>, Sony Pictures Classics, 2002.<\/p>\n Let It Be<\/em> (1970), taken from The Beatles Anthology<\/em>, Apple, 2003.<\/p>\n Meeting People is Easy<\/em>, Parlophone\/Capitol, 1999.<\/p>\n Nashville<\/em>, Paramount, 1975.<\/p>\n Ray<\/em>, Universal, 2005.<\/p>\n Rock Star<\/em>, Warner Bros., 2001.<\/p>\n Some Kind of Monster<\/em>, Paramount, 2004.<\/p>\n Sympathy For The Devil<\/em>, ABKCO, 1970.<\/p>\n The Buddy Holly Story<\/em>, Columbia Pictures, 1978.<\/p>\n The Harder They Come<\/em>, International Films\/Xenon Pictures, 1972.<\/p>\n The Kids Are Alright<\/em>, Pioneer\/EMI, 1979.<\/p>\n This is Spinal Tap<\/em>, Studio Canal\/MGM, 1984.<\/p>\n U2: Rattle and Hum<\/em>, Paramount, 1988.<\/p>\n","protected":false},"excerpt":{"rendered":" In the post-war era, many Hollywood films have utilized the recording studio as the setting for decisive dramatic action. For most viewers, these scenes serve to advance the plot. But for aspiring musicians, glimpses into the recording studio provide access to an otherwise closed world, a place where the music they know and love is created. When the protagonists struggle, their lack of experience is revealed, just as the hopeful musicians in the audience fear would occur to them in such a foreign environment. And when stars onscreen overcome their fears, the audience experiences the moment vicariously \u2013 their idol’s triumph is their own triumph.Filmography<\/strong><\/h3>\n
\nFilm representations of recording studio practice are important precisely for this reason. The actions depicted and the narrative tropes enacted on screen served to help formulate the novice’s conception of recording practice. Such movie scenes serve as a cornerstone for recording studio mythological narratives, and result in a number of assumptions regarding conflict and power struggle among recording studio participants. Inspired and intimidated by the images of studio work they have digested from adolescence through early adulthood, many recording participants utilize practices and enact mythologies first encountered through film representation. This paper [presented as a video] examines the formulation of film narrative tropes and mythologies, and the impact of these mythologies on recording studio practice.<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[65],"class_list":["post-1412","post","type-post","status-publish","format-standard","hentry","category-articles-editorials-provocations","tag-conference-paper","author-alan-williams"],"_links":{"self":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/1412","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/comments?post=1412"}],"version-history":[{"count":12,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/1412\/revisions"}],"predecessor-version":[{"id":1454,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/1412\/revisions\/1454"}],"wp:attachment":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/media?parent=1412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/categories?post=1412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/tags?post=1412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}