This work investigates how the integration of music in New Hollywood cinema functions as a mechanism for constructing and manipulating the audience's perception of historical time. Daniel Bishop, a scholar in film and music studies, utilizes a framework of temporal theory to analyze how specific soundtracks bridge the gap between contemporary narratives and the mythic past. By examining the intersection of auditory cues and visual storytelling, the author argues that music serves as a primary tool for establishing the unique temporal atmosphere characteristic of the New Hollywood era.

Scholars and film historians frequently cite this text for its focused application of temporal theory to the study of film soundtracks. Experts highlight the work as a specialized resource for those interested in the intersection of musicology and American cinema history.