| Description |
1 online resource |
| Contents |
Introduction. Voices in, of, and on the Cinema / James Buhler and Hannah Lewis -- Historical Approaches to Technology and the Voice. Apprehending Human Voice in the "Silent Cinema" / Julie Brown ; Silencing and Sounding the Voice in Transition-Era French Cinema / Hannah Lewis ; FM Radio and the New Hollywood Soundtrack / Julie Hubbert ; Pinewood's Fiddler Fans Goldwyn's Folly : London's Battle for Postproduction Sound Business / Katherine Quanz -- The Practice of the Singing Voice. Vococentrism and Sound in Ingmar Bergman's The Magic Flute / Marcia J. Citron ; Breaking into Soundtrack in 1980s Teen Films ; Cari McDonnell ; Girls' Voices, Boys' Stories, and Self-Determination in Animated Films since 2012 / Robynn J. Stilwell -- The "Auteuristic" Voice of the Soundtrack. The Trouble with Onscreen Orchestrators : Progeny and Compositional Crisis in the Four Daughters Film / Nathan Platte ; Some Thoughts on Genre, the Vococentric Cinema, and "Stella by Starlight" / David Neumeyer ; Listening to Soundscapes in Kurosawa's Dersu Uzala (1975) / Brooke McCorkle ; Peter Weir and the Piano Concerto / Erik Heine -- Narrative and Vococentrism. Monocentrism, or Soundtracks in Space : Rediscovering Forbidden Planet's Multi-Speaker Release / Eric Dienstfrey ; Sound and the Comic/Horror Romance Film : Formula, Affect, and Inflection / Janet Staiger ; Once More into the Breach : Interrogating Ben Winters's Nondiegetic Fallacy / Jeff Smith ; The End(s) of Vococentrism / James Buhler |
| Summary |
"Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies drawn from such disciplines as musicology, music theory, film and media studies, and sound studies. Yet, despite the diversity of approaches, the logic of the soundtrack and the relationship among its various components remains underexplored and undertheorized. The voice has long been an object of focus of many theoretical approaches to sound in cinema. But because of the way it relates to meaning and hierarchy, "voice" is also a useful metaphorical conceit for thinking about relations within the soundtrack. "Voice" can have multiple meanings when considering the integrated soundtrack and its position in the history of film music and sound. This volume builds on existing scholarship on music and film sound, with particular attention to the concepts of the voice in cinema, vococentrism, and the integrated soundtrack. What is the cinematic significance of the singing voice? How do music and dialogue interact in cinema? To what extent, if any, is silent film vococentric? Is vococentrism still a useful category to apply to conetmporary postclassical film? These are some of the questions the essays in this volume will address"-- Provided by publisher |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Description based on online resource; title from digital title page (viewed on April 07, 2020) |
| Subject |
Motion picture music -- History and criticism
|
|
Film soundtracks.
|
|
Voice in motion pictures.
|
|
sound tracks.
|
|
PERFORMING ARTS / General
|
|
Film soundtracks
|
|
Motion picture music
|
|
Voice in motion pictures
|
| Genre/Form |
Electronic books
|
|
Criticism, interpretation, etc.
|
| Form |
Electronic book
|
| Author |
Buhler, James, 1964- editor.
|
|
Lewis, Hannah, 1985- editor.
|
| LC no. |
2019035095 |
| ISBN |
9780252051869 |
|
0252051866 |
|
