LITMIR.BIZ

In <I>Hymns for the Fallen,</I> Todd Decker listens closely to forty years of Hollywood combat films produced after Vietnam. Ever a noisy genre, post-Vietnam war films have deployed music and sound to place the audience in the midst of battle and to provoke reflection on the experience of combat. Considering landmark movies&mdash;such as <I>Apocalypse Now</I>, <I>Saving Private Ryan</I>, <I>The Thin Red Line</I>, <I>Black Hawk Down</I>, <I>The Hurt Locker</I>, and <I>American Sniper</I>&mdash;as well as lesser-known films, Decker shows how the domain of sound, an experientially rich and culturally resonant aspect of cinema, not only invokes the realities of war, but also shapes the American audience&rsquo;s engagement with soldiers and veterans as flesh-and-blood representatives of the nation. <I>Hymns for the Fallen</I> explores all three elements of film sound&mdash;dialogue, sound effects, music&mdash;and considers how expressive and formal choices in the soundtrack have turned the serious war film into a patriotic ritual enacted in the commercial space of the cinema.

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Fred Astaire: one of the great jazz artists of the twentieth century? Astaire is best known for his brilliant dancing in the movie musicals of the 1930s, but in <i>Music Makes Me</i>, Todd Decker argues that Astaire’s work as a dancer and choreographer —particularly in the realm of tap dancing—made a significant contribution to the art of jazz. Decker examines the full range of Astaire’s work in filmed and recorded media, from a 1926 recording with George Gershwin to his 1970 blues stylings on television, and analyzes Astaire’s creative relationships with the greats, including George and Ira Gershwin, Irving Berlin, Jerome Kern, and Johnny Mercer. He also highlights Astaire’s collaborations with African American musicians and his work with lesser known professionals—arrangers, musicians, dance directors, and performers.

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