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The Oxford Handbook of Cinematic Listening explores the place of cinema in the history of listening. It looks at the ways in which listening to film is situated in textual, spatial, and social practices, and also studies how cinematic modes of listening have extended into other media and everyday experiences. Chapters are structured around six themes. Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing practices such as opera and shadow theatre, and also explores changes in listening taking place at critical junctures in the early history of cinema. Part II…mehr
The Oxford Handbook of Cinematic Listening explores the place of cinema in the history of listening. It looks at the ways in which listening to film is situated in textual, spatial, and social practices, and also studies how cinematic modes of listening have extended into other media and everyday experiences. Chapters are structured around six themes. Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing practices such as opera and shadow theatre, and also explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations and Relocations") focuses on specific venues and presentational practices from roadshow movies to contemporary live-score screenings. Part III ("Representations and Re-Presentations") zooms into the formal properties of specific films, analyzing representations of listening on screen as well as the role of sound as a representational surplus. Part IV ("The Listening Body") focuses on the power of cinematic sound to engage the full body sensorium. Part V ("Listening Again") discusses a range of ways in which film sound is encountered and reinterpreted outside the cinema, whether through ancillary materials such as songs and soundtrack albums, or in experimental conditions and pedagogical contexts. Part VI ("Across Media") compares cinema with the listening protocols of TV series and music video, promenade theatre and personal stereos, video games and Virtual Reality.
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Autorenporträt
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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