Titlebook: When Music Takes Over in Film; Anna K. Windisch,Claus Tieber,Phil Powrie Book‘‘‘‘‘‘‘‘ 2023 The Editor(s) (if applicable) and The Author(s)

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The Acoustic Wound: Reflections on the Crystal-Song in Five American Filmsr, it articulates a privileged musical moment of intense affect, ‘wounding’ the image/music nexus as does Barthes’s .for the photograph. The crystal-song is the piece that stands out from the others by a combination of intensity and critical insistence. The chapter explores such moments in five rece

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Redemption Songs: Musical Moments in Joseph Gaï Ramaka’s , (2001) and Flora Gomes’s , (2002)y space, but also for the audience to envision ‘what utopia would feel like’, something that may or may not be realised at the end of the film. Such a film genre has not been common in Third Cinema, a preferred style and aesthetic for many African films debuted since Ousmane Sembène, who likened the

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‘No Hay Nada Que Celebrar’: Music, Migration, and Violence in Luis Estrada’s , (2010) Netflix original series . (2015) and Telemundo’s telenovela . (2011). During this decade, one of the more significant cinematic contributions is Luis Estrada’s 2010 film ., which premiered in a sea of controversy. The film follows the protagonist Benny as he transitions from a recently deported und

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Desperately Funny: Comedy, Performance and the Musical Moment in , (2016) Simonischek)—here in character as his eccentric alter ego Toni—into singing to a room full of strangers at a party. Hüller’s rendition of ‘Greatest Love of All’, made famous by Whitney Houston’s 1986 cover, drew spontaneous applause at the film’s Cannes première, and many critics identify it as a ‘