The Oxford Handbook of Cinematic Listening
Series: Oxford Handbooks;
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Product details:
- Publisher OUP USA
- Date of Publication 26 August 2021
- ISBN 9780190853617
- Binding Hardback
- No. of pages792 pages
- Size 180x249x45 mm
- Weight 1429 g
- Language English
- Illustrations 142 illustrations; 7 tables 140
Categories
Short description:
Featuring perspectives from musicology, film studies, literary studies, ethnomusicology, sound studies, popular music, sociology, media and communications, and psychology, The Oxford Handbook of Cinematic Listening explores the intersection between the history of listening and the history of the moving image.
MoreLong description:
The Oxford Handbook of Cinematic Listening explores the place of cinema in the history of listening. It looks at the ways in which listening to film is situated in textual, spatial, and social practices, and also studies how cinematic modes of listening have extended into other media and everyday experiences.
Chapters are structured around six themes. Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing practices such as opera and shadow theatre, and also explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations and Relocations") focuses on specific venues and presentational practices from roadshow movies to contemporary live-score screenings. Part III ("Representations and Re-Presentations") zooms into the formal properties of specific films, analyzing representations of listening on screen as well as the role of sound as a representational surplus. Part IV ("The Listening Body") focuses on the power of cinematic sound to engage the full body sensorium. Part V ("Listening Again") discusses a range of ways in which film sound is encountered and reinterpreted outside the cinema, whether through ancillary materials such as songs and soundtrack albums, or in experimental conditions and pedagogical contexts. Part VI ("Across Media") compares cinema with the listening protocols of TV series and music video, promenade theatre and personal stereos, video games and Virtual Reality.
Table of Contents:
The Possibilities of Cinematic Listening: An Introduction
Carlo Cenciarelli
PART I: Genealogies and Beginnings
1. "Deeds of Music" in Bourgeois Opera (What the Listeners Sees...)
Peter Franklin
2. Hearing the Shadows at the Chat Noir's Pre-cinematic Theatre
Emilio Sala
3. The Courtships of Ada and Len: Mediated Musicals and Vocal Caricature Before the Cinema
Jacob Smith
4. The "Trickality" of Listening in Early Musical Trick Films
Julie Brown
5. Cinematic Listening and the Early Talkie
Jim Buhler
PART II: Locations and Relocations
6. Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture
Ben Winters
7. Tasteful Networks of Attention: Language, Listening, Meaning, and Art House Exhibition
Jocelyn Szczepaniak-Gillece
8. "The Atmosphere Was Entirely Good Humoured": The Cinema as a Venue for Live Music in Britain in the 1950s and 1960s
Simon Frith
9. Out of the Frame: Live-Score Film Screenings and the Cinematic Experience
Jeremy Barham
10. Leveraging a Long and Tuneful History: Perspectival Manipulation, Surround Sound, and Dolby Atmos
Meredith C. Ward
PART III: Representations and Re-presentations
11. Making Sense of Noise and Silence in La Captive
Richard Dyer
12. Hearing Hearing? Reflections on the Kubrickian Soundtrack
David Code
13. Countercultural Listening in Malick's Badlands (1973)
Julie Hubbert
14. Music Lovers. Listening in (and to) Composer Biopics
Guido Heldt
15. Hi-Yo, Rossini: Hearing Pre-existing music as Post-existing Music
Jonathan Godsall
16. "You Sorta Listen with Your Eyes": How Audiences Talk about Film Music
Martin Barker
PART IV: The Listening Body
17. Fist to Face: Corporeal Listening and the Cinematic Punch
Lisa Coulthard
18. The Erotics of Cinematic Listening
Danijela Kulezic-Wilson
19. Sensing Time and Space through the Soundtracks of Interstellar and Arrival
John Richardson, Anna-Elena Pääkkölä, Sanna Qvick
20. Listening-Feeling-Becoming: Cinema Surveillance
Miguel Mera
21. Sonic Elongation and Sonic Aporia: Two Modes of Disrupted Listening in Film
Holly Rogers
22. The Trailer Ear: Constructions of Loudness in Cinematic Previews
James Deaville
PART V: Listening Again
23. Pop Music, Processing Fluency, and Pleasure: Film Songs as Both Hype and Memento
Jeff Smith
24. A Movie for Speakers: Queen's Flash Gordon and the Integrated Soundtrack Album
Paul N. Reinsch
25. "If You Know Arabic, Indian Songs Are Easy For You": Hindi Film Songs in Tamale, Northern Ghana
Katie Young
26. Hearing and Teaching Soundtracks as a Mother and a Daughter: A Personal, Feminist, Pedagogical Approach to Flux
Elsie Walker
27. Hearing Film Music Topics outside the Movie Theatre: Listening "Cinematically" to Pastorals
Janet Bourne
28. Hearing Secondary Explosions: The Naudet Brothers' 9/11 and Audiovisual (A)synchronization in Twenty-First-Century Media
Randolph Jordan
PART VI: Across Media
29. Evolving Storylines and Patterns of Listening: The Case of Invasion at the Dawn of the Binge Age (2005-06) Robynn Stilwell
30. Projections of Image on Sound: Reassessing the Relation between Music Video and Cinema
Mathias Bonde Korsgaard
31. Listen Again: Music Video's Cinematic Soundscapes
Laurel Westrup
32. Summon the Cinematic? Aural Mediation and Filmic Immersion in the Case of Remote Taipei
Ya-Mong Feng
33. iPod Listening as an I-voice: Solitary Listeners and Imagined Interlocutors across Cinema and Personal Stereos
Carlo Cenciarelli
34. Fantasias on a Theme by Walt Disney: Playful Listening and Video Games
Tim Summers
35. Old(er) Media and New Musical Affordances in Virtual Reality Experiences
Michiel Kamp
