Skip to main content
Theories of the Soundtrack

 New,Theories of the Soundtrack

  • Author: Buhler, James

Book

$30.25

In stock

Usually despatched within 1 working day

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