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.
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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Carlo Cenciarelli is Lecturer at Cardiff University. He has written articles on the media afterlife of classical and popular music, with publications in edited collections and in journals including Music and Letters, Twentieth-Century Music, Cambridge Opera Journal, and the Journal of the Royal Musical Association. He is currently working on a book on mobile listening and the moving image.
Inhaltsangabe
* 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
* 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
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