Although Coralville is a lot like other small American cities; it is unique as the only community of that name in the United States. Located on the Iowa River; the name refers to the ancient coral reefs that are its geological bedrock. The river has always been a key aspect of Coralvillersquo;s history; along with its proximity to Iowa City; the first capital of the Territory of Iowa and the home of the University of Iowa. Incorporated as a city in 1873; Coralville had few residents until the 1960s; when dynamic commercial and residential development brought substantial growth to the area. Today; Coralville is a city of industry; commerce; and hospitality. It is not surprising; therefore; that ldquo;Coralville Priderdquo; is the city motto.
#1928389 in eBooks 2009-11-15 2012-04-20File Name: B00VB4678I
Review
1 of 1 people found the following review helpful. Good IntroductionBy M. BetancourtAimee Mollaghanrsquo;s book The Visual Music Film is a good introductory survey of some aspects of the visual music film; and provides a nice introduction for people not aware of these films. I was excited to see this book; and read it with great interest.While it is a useful introductory survey; the scope and range of what appears in it is unfortunately highly limited to only a small number of (male) film makers in a field that has always included many women. This book also would have benefited from a deeper survey of the substantial existing literature on both color music and visual music beyond film (such as in video art or color organs generally); as well as non-English studies of some of the filmmakers discussed. For example; Viking Eggelings film Symphonie Diagonale has been extensively discussed (and restored) by Gouml;sta Werner and Bengt Edlund in precisely the terms of Mollaghans analysis; as a music work in visual form; yet their historical writing from almost 20 years ago does not appear in the book. These kinds of omissions are flaws; but only of serious concern to academic specialists engaged with this subject. (This book is of the quality to be expected in an authors first foray into this subject; as might be done in a thesis or dissertation.) It is a fallacy of how the book has been framed that it claims "visual music has been underrepresented as a distinct category"; perhaps hers is a valid (if misleading) criticism of how visual music has been discussed by other authors who are not focused on the "musical qualities" as she is. However; given such an interest; the absence of Joseph Schillinger and his influence on Mary Ellen Bute is regrettable. Once one expands beyond the narrow medium-specificity (celluloid film) that organizes this study; there is a vast range of materials directly concerned with visual music; none of which this author appears to have used in her discussion.
