Выбрать главу

Brown, Royal S. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press, 1994.

Bunia, Remigius. “Diegesis and Representation: Beyond the Fictional World, on the Margins of Story and Narrative.” Poetics Today. 31:4. (2010): 679-720.

Ferrell, Jeff. Crimes of Style: Urban Graffiti and the Politics of Criminality. Boston: Northeastern University Press, 1996.

———. “Cultural criminology.” Annual Review of Sociology. 25. (1999): 395-418.

Ferrell, Jeff, Dragan Milovanovic and Stephen Lyng. “Edgework, Media Practices, and the Elongation of Meaning.” Theoretical Criminology. 5:2. (2001): 177-202.

Fiske, John. Television Culture. 2nd ed. Abingdon and New York: Routledge, 2010.

Goodwin, Andrew. “Fatal Distractions: MTV Meets Postmodern Theory.” In Sound and Vision: The Music Video Reader, edited by Simon Frith, Andrew Goodwin and Lawrence Grossberg. 37-56. London: Routledge, 1993.

Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Bloomington and Indianapolis: Indiana University Press, 1987.

Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York and London: Routledge, 2001.

Katz, Jack. Seductions of Crime. New York: Basic Books, 1988.

Lannin, Steve and Matthew Caley, eds. Pop Fiction: The Song in Cinema. Bristol and Portland: Intellect, 2005.

MacRory, Pauline. “Excusing the Violence of Hollywood Women: Music in Nikita and Point of No Return.Screen. 40:1. (1999): 51-65.

Mundy, John. Popular Music on Screen: From Hollywood Musical to Music Video. Manchester: Manchester University Press, 1999.

Nardi, Carlo. “Library Music: Technology, Copyright and Authorship.” In Issues in Music Research: Copyright, Power And Transnational Musical Processes, edited by Salwa El-Shawan Castelo-Branco et al., 73-83. Lisbon: SIBE, 2012.

Powrie, Phil and Robynn Stilwell, eds. Changing Tunes: The Use of Pre-existing Music in Film. Aldershot and Burlington: Ashgate, 2006.

Presdee, Mike. Cultural Criminology and the Carnival of Crime. London and New York: Routledge, 2000.

Quartetto Cetra. “Crapapelada.” B-side of “Peppone il calciatore.” Cetra. AA 421. Vinyl Single Record. 1945.

Ramírez-Pimienta, Juan Carlos. “Del Corrido de Narcotráfico al Narcocorrido: Orígenes y Desarrollo del Canto a los Traficantes.” Studies in Latin American Popular Culture. XXIII. (2004): 21-41.

———. Cantar a Los Narcos: Voces y Versos del Narcocorrido. Mexico City: Editorial Planeta, 2011.

Raney, Arthur A. “Expanding Disposition Theory: Reconsidering Character Liking, Moral Evaluations, and Enjoyment.” Communication Theory. 14:4. (2004): 348-369.

Ray, Austin L. “The Chemistry Behind the Music in ‘Breaking Bad’.” MTV Hive. 16 July 2012. http://www.mtvhive.com/2012/07/16/breaking-bad-music/.

Romano, Andrew. “The Most Dangerous Show on Television.” Newsweek. 158:2. 4 July, 2011. 58-63.

Romney, Jonathan and Adrian Wootton, eds. Celluloid Jukebox: Popular Music and the Movies since the 50 s. London: BFI, 1995.

Shumway, David R. “Rock ’n’ Roll Sound Tracks and the Production of Nostalgia.” Cinema Journal. 38:2. (1999): 36-51.

Simonett, Helena. “Narcocorridos: An Emerging Micromusic of Nuevo L.A.” Ethnomusicology. 45:2. (2001): 315-337.

Smith, James. “Popular Songs and Comic Allusion in Contemporary Cinema.” In Soundtrack Available: Essays on Film and Popular Music, edited by Pamela Robertson Wojcik and Arthur Knight. 407-430. Durham and London: Duke University Press, 2001.

Smith, Jeff. The Sounds of Commerce: Marketing Popular Film Music. New York: Columbia University Press, 1998.

The Association. “Windy.” Warner Brothers, 1967. 7041. Vinyl Single Record.

Tincknell, Estella. “The Soundtrack Movie, Nostalgia and Consumption.” In Film’s Musical Moments, edited by Ian Conrich and Estella Tincknell. 132-145. Edinburgh: Edinburgh University Press, 2006.

Tommy James and The Shondells. “Crystal Blue Persuasion.” Roulette. R 7050. Vinyl Single Record, 1969.

TV On The Radio. “DLZ.” On Dear Science. Interscope. 2008. CAD2821CD. CD.

Valenzuela Arce, José Manuel. 2002. Jefe de Jefes: Corridos y Narcocultura en México. Mexico City: Plaza y Janés.

Vernallis, Carol. “Music Video, Songs, Sound: Experience, Technique and Emotion in Eternal Sunshine of the Spotless Mind.” Screen. 49:3. (2008): 277-197.

Villalobos, José Pablo and Juan Carlos Ramírez-Pimienta. “‘Corridos’ and ‘la Pura Verdad’: Myths and Realities of the Mexican Ballad.” South Central Review. 21. (Fall 2004): 129-149.

Wald, Elijah. Narcocorrido: A Journey Into the Music of Drugs, Guns, and Guerrillas. New York: HarperCollins, 2001.

Winters, Ben. “The Non-diegetic Fallacy: Film, Music, and Narrative Space.” Music and Letters. 91:2. (2010): 224-244.

Wojcik, Pamela Robertson and Arthur Knight, Eds. Soundtrack Available: Essays on Film and Popular Music. Durham and London: Duke University Press, 2001.

Chapter 11

FEELING BAD: EMOTIONS AND NARRATIVITY IN BREAKING BAD

E. Deidre Pribram

In an interview that took place in January 1984, five months before his death, Michel Foucault relates an anecdote to illustrate what he means by ‘relations of power’:

For example, the fact that I may be older than you, and that you may initially have been intimidated, may be turned around during the course of our conversation, and I may end up being intimidated before someone precisely because he is younger than I am. (292)

His is a simple, almost offhand anecdote but one that has lingered in my mind precisely because of the inadequate means we possess to explain what occurs during this modest encounter and exchange.

In the interview, Foucault (1987) seeks to describe what he means by coercive power or states of domination versus strategies or relations of power. His interviewers remain more concerned with notions of dominance while Foucault repeatedly returns to relations of power that, for him, are both necessary to human society and quite ordinary. He acknowledges that states of domination do exist, in which power relations “are perpetually asymmetrical and allow an extremely limited margin of freedom” or strategy (292). In such situations, although the power differential cannot be reversed, certain strategies of resistance remain possible. Still, even a severely limited field of resistance constitutes the deployment of power relations.

Foucault (1987) is taking exception to the belief that his work is associated with a lack of freedom or agency, that “because power is everywhere, there is no freedom” (292). Quite the contrary, he insists, “if there are relations of power in every social field, this is because there is freedom everywhere” (291-292). Foucault is arguing that relations of power are linked with freedom and resistance, not static dominance or social paralysis. Instead, “in human relations, whether they involve verbal communication…or amorous, institutional, or economic relationships, power is always present” (291-292). Further, “these power relations are mobile, they can be modified, they are not fixed once and for all” (292). Power relations can only exist to the degree in which subjects are free and capable of some form of resistance. Without some measure to act, there would be no power relations, only powerlessness: stasis and solidification in social relations, rather than mobility and mutability.