Drawing on the scholarship of popular music and the pop score, as well as feminist film and media studies, Howell addresses an often neglected area of gender representation by considering cinematic masculinity as an audiovisual construction. Of particular interest is the way these films and their representations of masculinity are shaped by generic exchanges among contemporary music, music cultures, and film, combining American cinema's longstanding investment in violence-as-spectacle with similarly body-focused pleasures of contemporary youth music. Popular Film Music and Masculinity in Action considers an eclectic mix of film, from Elvis and Travolta star vehicles to Bruckheimer-produced blockbuster action, with a special focus on the work of musically innovative directors Melvin Van Peebles, Martin Scorsese, Quentin Tarantino, and Gregg Araki.
Amanda Howell offers a new perspective on the contemporary pop score, as the means by which masculinities not seen-or heard-before became a part of American cinema after World War II.
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