Music, Movies, Meanings, and Markets focuses on macromarketing-related aspects of film music in general and on the cinemusical role of ambi-diegetic jazz in particular. The book examines other work on music in motion pictures which has dealt primarily with the traditional distinction between nondiegetic film music (background music that comes from off-screen and is not audible to the film’s characters, to further the dramatic development of plot, character, or other themes) and diegetic music (source music produced on-screen and/or that is audible to the film’s characters, adding to the realism of the mise-en-scène without contributing much to other dramatic meanings). This book defines, describes, and illustrates another hitherto-neglected type of film music –ambi-diegetic film music, which appears on-screen but which contributes to the dramatic development of plot, character, and other themes. Consistent with an interest in macromarketing, such ambi-diegetic film music serves as a kind of product placement (suitable for commercialization via the cross-promotion of soundtrack albums, for example) and plays a role in product design. It also provides one type of symbolic consumer behavior that indicates choices made by film characters when playing-singing-listening-or-dancing in ways that reveal their personalities or convey other cinemusical meanings. Morris Holbrook argues that ambi-diegetic film music sheds light on various social issues –such as the age-old tension between art and entertainment as it applies to the contrast between creative integrity and commercialization. Music, Movies, Meanings, and Markets explores the ways in which ambi-diegetic jazz contributes to the development of dramatic meanings in various films, many of which address the art-versus-commerce theme as a central concern.

Music, Movies, Meanings, and Markets: Cinemajazzamatazz focuses on (macro)marketing-related aspects of film music in general and on the cinemusical role of jazz in particular. After a review of other work on music in motion pictures, the book explores and illustrates the ways in which on-screen jazz performances contribute to the development of dramatic meanings in various films, many of which address the art-versus-commerce theme as a central concern.

By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer's 25-year project in the analysis and interpretation of music in film.

Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the Industry. A complete index is included in each volume.

Tony the Tiger. The Pillsbury Doughboy. The Michelin Man. The Playboy bunny. The list of brand mascots, spokes-characters, totems and logos goes on and on and on. Mascots are one of the most widespread modes of marketing communication and one of the longest established. Yet, despite their ubiquity and utility, brand mascots seem to be held in comparatively low esteem by the corporate cognoscenti. This collection, the first of its kind, raises brand mascots’ standing, both in an academic sense and from a managerial perspective. Featuring case studies and empirical analyses from around the world – here Hello Kitty, there Aleksandr Orlov, beyond that Angry Birds – the book presents the latest thinking on beast-based brands, broadly defined. Entirely qualitative in content, it represents a readable, reliable resource for marketing academics, marketing managers, marketing students and the consumer research community. It should also prove of interest to scholars in adjacent fields, such as cultural studies, media studies, organisation studies, anthropology, sociology, ethology and zoology.

This book examines the relationship between narrative film and reality, as seen through the lens of on-screen classical concert performance. By investigating these scenes, wherein the performance of music is foregrounded in the narrative, Winters uncovers how concert performance reflexively articulates music's importance to the ontology of film. The book asserts that narrative film of a variety of aesthetic approaches and traditions is no mere copy of everyday reality, but constitutes its own filmic reality, and that the music heard in a film's underscore plays an important role in distinguishing film reality from the everyday. As a result, concert scenes are examined as sites for provocative interactions between these two realities, in which real-world musicians appear in fictional narratives, and an audience’s suspension of disbelief is problematised. In blurring the musical experiences of onscreen observers and participants, these concert scenes also allegorize music’s role in creating a shared subjectivity between film audience and character, and prompt Winters to propose a radically new vision of music’s role in narrative cinema wherein musical underscore becomes part of a shared audio-visual space that may be just as accessible to the characters as the music they encounter in scenes of concert performance.

For more than three decades, Joel and Ethan Coen have produced some of the most memorable and influential American roots music soundtracks in film history. From Raising Arizona (1987) to O Brother, Where Art Thou? (2000) to Inside Llewyn Davis (2013), the Coens, along with musical archivist and producer T-Bone Burnett, have curated half-forgotten yet unforgettable genres, artists and songs from America's cultural past for new audiences. This book is the first devoted to giving a full account of this rich cinematic legacy.

The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music ‘outside’ the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjær sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.

Culture pervades consumption and marketing activity in ways that potentially benefit marketing managers. This book provides a comprehensive account of cultural knowledge and skills useful in strategic marketing management. In making these cultural concepts and frameworks accessible and in discussing how to use them, this edited textbook goes beyond the identification of historical, sociocultural, and political factors impinging upon consumer cultures and their effects on market outcomes. This fully updated and restructured new edition provides two new introductory chapters on culture and marketing practice and improved pedagogy, to give a deeper understanding of how culture pervades consumption and marketing phenomena; the way market meanings are made, circulated, and negotiated; and the environmental, ethical, experiential, social, and symbolic implications of consumption and marketing. The authors highlight the benefits that managers can reap from applying interpretive cultural approaches across the realm of strategic marketing activities including: market segmentation, product and brand positioning, market research, pricing, product development, advertising, and retail distribution. Global contributions are grounded in the authors’ primary research with a range of companies including Cadbury’s Flake, Dior, Dove, General Motors, HOM, Hummer, Kjaer Group, Le Bon Coin, Mama Shelter, Mecca Cola, Prada, SignBank, and the Twilight community. This edited volume, which compiles the work of 58 scholars from 14 countries, delivers a truly innovative, multinationally focused marketing management textbook. Marketing Management: A Cultural Perspective is a timely and relevant learning resource for marketing students, lecturers, and managers across the world.

The concept of value has been at the heart of marketing thought and practice. Marketers strive to develop a unique value proposition to satisfy the needs of customers in order to create a differentiated offering to targeted customers, be they end consumers or business users. It is the unique value delivered by products and services that defines firm’s competitive market positioning. Recent advances in marketing theory have enhanced the interpretation of value in terms of its types, manifestations and determinants. Value in marketing is delivered to customers, stakeholders, shareholders, ecosystems and society. While the literature has been unanimously emphasizing the economic interpretation of value, measured in money terms, marketing has been at the forefront of critical thinking bringing to the fore new meanings and interpretations of value that have unlocked the psychological, emotional, social and ecological value of products and services to customers. It is the marketing thought that has extended the understanding of value-in-use and has indisputably positioned value in context. Marketing has developed the notion of value delivered by intangible assets that can create much greater value than the tangible product and/or service. Marketing has unravelled the multi-layered nature of value to the customer and thus augmented the meanings and interpretations, as well as the analytical and practical potential of this notion. Consequently, we see the need to revisit the concept of value in marketing in order to address its complexity. This book sets to provide an insight in the concept of value in marketing in its contemporary interpretation and level of development. The aim is to offer an overview of debates and developments in our understanding of value in marketing that can raise the awareness of the scholarly and business communities of its pivotal importance for businesses and consumers. Value in Marketing presents reflections and analysis of value in marketing by consecutive generations of scholars who have made theoretical contribution to the contemporary understanding of the concept, its interpretations, dimensions and importance. The chapters address various issues including: customer value development, implications, and trajectories; intra-variable and inter-variable perspectives of value; the importance of the value concept in the international marketing context; value developed in networks that is intrinsically associated with knowledge creation in the internationalization, meanings and interpretations of value in diverse contexts that help us develop further the dimensions of the concept. We trust the book will be of interest to researchers, scholars and students in the fields of marketing management and international business, and to people who wish to have a better understand what marketing really brings to consumers.