{"title":"论类型、声中心电影与《星光下的斯特拉》","authors":"David Neumeyer","doi":"10.5406/j.ctvz0hcn6.13","DOIUrl":null,"url":null,"abstract":"The generic dissonance between romantic comedy and horror film in The Uninvited (1944) is explored through a focus on the character and placements of the “Serenade to Stella by Starlight.” The essay describes the tension between this songlike theme, the sound of the piano, and the identification of the Serenade more closely with its composer (the male lead) than with the woman he wrote it for.","PeriodicalId":193833,"journal":{"name":"Voicing the Cinema","volume":"93 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Some Thoughts on Genre, the Vococentric Cinema, and “Stella by Starlight”\",\"authors\":\"David Neumeyer\",\"doi\":\"10.5406/j.ctvz0hcn6.13\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The generic dissonance between romantic comedy and horror film in The Uninvited (1944) is explored through a focus on the character and placements of the “Serenade to Stella by Starlight.” The essay describes the tension between this songlike theme, the sound of the piano, and the identification of the Serenade more closely with its composer (the male lead) than with the woman he wrote it for.\",\"PeriodicalId\":193833,\"journal\":{\"name\":\"Voicing the Cinema\",\"volume\":\"93 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Voicing the Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5406/j.ctvz0hcn6.13\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Voicing the Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/j.ctvz0hcn6.13","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Some Thoughts on Genre, the Vococentric Cinema, and “Stella by Starlight”
The generic dissonance between romantic comedy and horror film in The Uninvited (1944) is explored through a focus on the character and placements of the “Serenade to Stella by Starlight.” The essay describes the tension between this songlike theme, the sound of the piano, and the identification of the Serenade more closely with its composer (the male lead) than with the woman he wrote it for.
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