Theories of the Soundtrack

Contents

• Chapter 1: Introduction
• Five Vignettes of Early Sound Film
• The Hybridity of Sound Film
• Sound Film, an Audiovisual Medium
• Film Sound and Occult Aesthetics
• This Volume
• Chapter 2: Early Theories of Sound Film
• Introduction: The Specificity of the Sound Film
• The Statement on Sound and the Concept of Counterpoint
• Sergei Eisenstein and Counterpoint
• Vsevolod Pudovkin and Asynchronous Sound
• The Case of Deserter
• Perceptual Realism
• Bela Balazs and the Physiognomy of the Voice
• Rudolf Arnheim and the Unity of Sound
• Harry Potamkin and the Compound Cinema
• Chapter 3: Theories of the Classic Sound Film: Grammars and Typologies
• Introduction
• Sergei Eisenstein and Vertical Montage
• Modes of Synchronicity
• Aaron Copland and the Functions of Film Music
• Functions
• Reservations
• Hanns Eisler and Theodor W. Adorno and Critical Theory
• Contra Eisenstein
• The Negative Thesis: Sham Identity
• Bad Habits
• The Classical System and the Typological Analysis
• Raymond Spottiswoode and Film Grammar
• Siegfried Kracauer and the Types of Cinematic Sound
• Roger Manvell and John Huntley and Functional Music
• On the Difference between Realistic and Nonrealistic Music
• Chapter 4: Language, Semiotics, Deleuze
• The Linguistic Analogy
• Jean Mitry and Language and Rhythm
• Semiotics of Film/Semiotics of Music
• Christian Metz and Aural Objects
• Gilles Deleuze and the Movement-Image
• Zero-Point: Perception-Image
• Firstness: Affection-Image
• First Intermediary Stage: Impulse-image
• Secondness: Action-Image
• Large Action Form
• Small Action Form
• Second Intermediary Stage: Reflection-image
• Thirdness: Relation-Image
• Chapter 5: Neoformalism and Four Models of the Soundtrack
• Introduction: Semiotics and Formalism
• Neoformalism
• Kristin Thompson and the Analytical Approach
• David Bordwell and the Music(ologic)al Analogy
• Noel Carroll and Modifying Music
• Formal Models of Music and Film
• Kathryn Kalinak and Captain Blood
• A Working Model of Film Music
• General Considerations
• Explicit Relations of Music to Narrative
• Implicit Relations of Music to Narrative
• Combining Implicit and Explicit Relations of Music to Narrative
• Nicholas Cook and Multimedia Systems
• David Neumeyer and Vococentrism
• Annabel Cohen and the Congruence-Association Model
• Chapter 6: Narratology and the Soundtrack
• Introduction
• Narratology and Film
• Narratology and the Soundtrack
• Claudia Gorbman and Narrative Functions
• Sarah Kozloff and the Narrative Functions of Dialogue
• Michel Chion and the Audiovisual Scene
• Giorgio Biancorosso and the Cinematic Imagination
• Robynn Stilwell and the Fantastical Gap
• Jeff Smith and Film Narration
• Ben Winters and the Nondiegetic Fallacy
• Guido Heldt and Levels of Narration
• Music and Focalization
• Focalization in Casablanca
• Conclusion
• Chapter 7: Critical Theory and the Soundtrack
• Introduction
• Hermeneutics of Suspicion
• Ideology of Content (1): Topic Theory
• Ideology of Content (2): The Table of Knowledge and Communicative Efficiency
• Musical Topics: A Postcolonial Critique
• Ideology of System
• Ideology of Apparatus
• Gender, Sexuality, and the Soundtrack
• Soundtrack Theory and Feminist Theory
• Soundtrack Theory and Queer Theory
• Queering Asynchronous Sound
• Queerness and Spectacle
• Suddenly, Last Summer (1959) and the Economy of Sacrifice
• The Hours (2002) and Sacrificial Inversion
• Chapter 8: Psychoanalysis, Apparatus Theory, and Subjectivity
• Introduction
• The Appareil
• Jean-Louis Baudry and the Basic Cinematographic Apparatus
• Jean-Louis Comolli and Technique and Ideology
• Mary Ann Doane and the Ideology of Sound Editing
• Rick Altman and the Heterogeneity of Sound
• James Lastra and Representational Technology
• Music and the Appareil
• The Dispositif
• Jean-Louis Baudry and the Dispositif
• Jean-Louis Comolli and the Dispositif
• Christian Metz and Enunciation
• Dispositif and Suture
• Mary Ann Doane and the Fantasmatic Body
• Pascal Bonitzer and the Voiceover and Voice-off
• Suture and the Soundtrack
• Jeff Smith and the Critique of Psychoanalytical Model of Film Music
• Neo-Lacanian Theory
• The Gaze and the Voice
• Michel Chion and There is No Soundtrack
• Mimetic Synchronization and the Sexual Relation
• Michel Chion and Rendering
• Chapter 9: Theories of the Digital Soundtrack
• Introduction
• The Ontological Divide
• Animated Image, Stylized Sound: The Radical Effects
• of Digital Rendering
• Music, Sound Design, and Digital Audio Production
• Theories of Stereophonic Sound
• Affective Intensities, the Withering of the Leitmotif,
• and the Withdrawal of Identity
• Postclassical Cinema and the Fraying of Narrative
• Conclusion
• Bibliography
• Index