Books by "James P. Kraft"
4 books found
A theory of the soundtrack is concerned with what belongs to the soundtrack, how a soundtrack is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound and music, classify the types of relations that films have used for image and sound, identify the central problems, and reflect on and describe effective uses of sound in film. This book summarizes and critiques major theories of the soundtrack from roughly 1929 until today. Rather than providing an exhaustive historical survey, it sketches out the range of theoretical approaches that have been applied to the soundtrack since the commercial introduction of the sound film. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories. The organization is both chronological and topical, the former in that the chapters move steadily from early film theory through models of the classical system to more recent critical theories; the latter in that the chapters highlight central issues for each generation: the problem of film itself, then of image and sound, of adequate analytical-descriptive models, and finally of critical-interpretative models.
For two decades after rock music emerged in the 1940s, the American Federation of Musicians (AFM), the oldest and largest labor union representing professional musicians in the United States and Canada, refused to recognize rock 'n' roll as legitimate music or its performers as skilled musicians. The AFM never actively organized rock 'n' roll musicians, although recruiting them would have been in the union's economic interest. In Tell Tchaikovsky the News, Michael James Roberts argues that the reasons that the union failed to act in its own interest lay in its culture, in the opinions of its leadership and elite rank-and-file members. Explaining the bias of union members—most of whom were classical or jazz music performers—against rock music and musicians, Roberts addresses issues of race and class, questions of what qualified someone as a skilled or professional musician, and the threat that records, central to rock 'n' roll, posed to AFM members, who had long privileged live performances. Roberts contends that by rejecting rock 'n' rollers for two decades, the once formidable American Federation of Musicians lost their clout within the music industry.
In questioning the scientific enterprise and its effect on the society around it, this analysis of modern science has a particular emphasis on the role of thematic elements - often unconscious presuppositions that guide scientific work.
To paraphrase Marx, sociologists have only interpreted science; the point is to improve it. The Rational and the Social attempts both. It begins by sketching recent sociological approaches to science, notably the strong programme – Bloor’s ‘science of science’ and Barnes’s ‘finitism’ – and that of the ‘anthropologists in the lab’, Collins and Latour and Woolgar. The author argues that although sociological accounts are valuable in many respects, when morals are drawn about the structure and epistemology of science, they are badly flawed. In rejecting the sociological theory of science, it is not necessary to conclude that science develops without reference to the social. James Robert Brown argues for an alternative account. He proposes a novel way of viewing the history of science as a source of evidence for how to do good science and argues that the most important aspect of methodology is that it is comparative. Rival theories are evaluated by comparison and the contribution of the social to this process is inevitable and should be acknowledged. This is the challenge to science.