Music, Movies, Meanings, and Markets : Cinemajazzamatazz

SUMARIO. Introduction : ambi-diegetic music in motion pictures. The role of ambi-diegetic film music in the product design of Hollywood movies : macromarketing in La-La-land / Ambi-diegetic jazz and the development of character. Ambi-diegetic film music as a product-design and -placement strategy : the Crosby duets in High society (1956) / The cinemusical role of My funny Valentine in The fabulous Baker Boys (1989) and The talented Mr. Ripley (1999) / The plot thickens : cinemusical meanings in the crime-plus-jazz genre. Pete Kelly's blues (1955) / The Cotton Club (1984) / Kansas City (1996) / Jazz, films, and macromarketing themes : art versus commerce in the young man-with-a-horn genre. Young man with a horn (1949) / Paris blues (1961) / Mo' better blues (1990) / Ambi-diegetic, nondiegetic, and diegetic cinemusical meanings in motion pictures : commerce, art, and Brando loyalty / or / De Niro, my God, to thee. Commerce and New York, New York (1977) : he's delightful, he's delicious, he's De Niro / Art and Heart beat (1980) : stars fell on Algolagnia / Brando loyalty and The score (2001) : how do you keep the music paying? / God is in the details. His eye is on the sparrow : small-but-significant cinemusical moments in jazz film scores by Miles Davis and John Lewis / Small-but-significant implications of the man who isn't there in Sweet smell of success (1957) / Jazz biopics as tragedy and comedy : pivotal ambi-diegetic. Cinemusical moments in tragedepictions and comedepictions of jazz heroes / When bad things happen to great musicians : the troubled role of ambi-diegetic jazz in three tragedepictions of artistic genius on the silver screen / A cinemusicaliterary analysis of the American dream as represented by biographical jazz comedepictions in the golden age of Hollywood biopics : Blow, Horatio, blow; O, Jakie, O; Go, Tommy, go; No, Artie, no.