James Buhler

Theories of the Soundtrack

• Broschiertes Buch

Produktbeschreibung

Theories of the Soundtrack presents a comprehensive account of speculative thinking about film music and sound from major classical and contemporary theorists. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories.

Produktdetails

• Verlag: Oxford University Press, USA
• Seitenzahl: 336
• Erscheinungstermin: 5. November 2018
• Englisch
• Abmessung: 227mm x 153mm x 22mm
• Gewicht: 484g
• ISBN-13: 9780199371082
• ISBN-10: 0199371083
• Artikelnr.: 52525708

Autorenporträt

Jim Buhler is a Professor of Music Theory and Director of the Center for American Music at the University of Texas and lead author of Hearing the Movies: Music and Sound in Film History (2009, 2014).

Inhaltsangabe

* 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