The Oxford Handbook of Cinematic Listening (Oxford Handbooks)

The Oxford Handbook of Cinematic Listening explores the intersection between the history of listening and the history of the moving image. Featuring established and emergent scholars from musicology, film studies, and literary studies, ethnomusicology and sound studies, popular music,sociology, media and communications, and psychology, this Handbook offers a wide range of case studies and methodological perspectives on the archaeologies, aesthetics, and extensions of cinematic listening.Chapters are structured around six themes: Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing genres such as opera and shadow theatre, and explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations andRelocations") focuses on specific venues and presentational practices (from roadshow movies to and contemporary live-score screenings). Part III ("Representations and Re-presentations") zooms into the formal properties of specific films, analysing representations of listening on screen as well as onthe role of sound as a representational surplus. Part IV ("The Listening Body") focuses on cinematic sound as a powerful and sensual stimulus that has the power to engage the full body sensorium. Part V ("Listening again") discusses a range of ways in which film sound is encountered andreinterpreted outside the cinema, through ancillary materials like songs and soundtrack albums, in experimental conditions, and in pedagogical contexts. Part VI ("Between Media") compares the listening protocols of cinema with those of TV series and music video, promenade theatre and personalstereos, video games and Virtual Reality. Cover The Oxford Handbook of CINEMATIC LISTENING Copyright Acknowledgments Contents List of Contributors About the Companion Website The Possibilities of Cinematic Listening: An Introduction The Cinema Effect The “Cinematicity” of Cinematic Listening The “Aurality” of Cinematic Listening Mapping Cinematic Listening: Archaeologies, Aesthetics, and Extensions Archaeologies (traces and places) Aesthetics (texts and bodies) Extensions (beyond film and across media) Imagining Cinematic Listening Notes Select Bibliography Part I: GENEALOGIES AND BEGINNINGS Chapter 1: “Deeds of Music” in Bourgeois Opera (What the Listener Sees . . . ) Wagner’s Deeds Music and Spectacle in the Popular Theatre Weigl’s “Walk” Notes Select Bibliography Chapter 2: Hearing the Shadows at the Chat Noir’s Pre-cinematic Theatre The Second Chat Noir and Its Shadow Theatre Different Sounds for Different Shadows Remediating the Shadows Notes Notes Select Bibliography Chapter 3: The Courtships of Ada and Len: Mediated Musicals and Vocal Caricature Before the Cinema Vaudeville Specialties Chimmie and Maggie Henny and Hilda Mandy and Her Man John and Jane Conclusion Notes Select Bibliography Chapter 4: The “Trickality” of Listening in Early Musical Trick Films Mystery, Wonder, Attractions of Artful Deception Visualizing the Impact of New Sound Technologies on Listening Visualizing Music’s Mysterious Properties On Audio-visual Synchronization Trickality in Performance Notes Select Bibliography Chapter 5: Cinematic Listening and the Early Talkie Mechanical Reproduction and “Cinematic” Sound Recorded Theatre and the Theatre of Reality Uncanny Synchronization Dorothy Richardson’s Listening “Modes” and the Patriarchal Order of Sound Film Dialogue Contra Image Conclusion Notes Select Bibliography Part II: LOCATIONS AN DRELOCATIONS Chapter 6: Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture Film and Presentational Practices Music and the Roadshow Roadshow Music Functions Historically Informed Movie Presentation Notes Select Bibliography Chapter 7: Tasteful Networks of Attention: Language, Listening, Meaning, and Art House Exhibition Foucault and the Structure of Listening The Malleable Listener and Meaningful Sound The Economic Man and the Cinephilic Listener Notes Select Bibliography Chapter 8: “The Atmosphere Was Entirely Good Humoured”: The Cinema as a Venue for Live Music in Britain in the 1950s and 1960s The Cinema as a Space for Youth The Cinema as a Space for Music Cinema Culture Into the 1970s Notes Select Bibliography Chapter 9: Out of the Frame: Live-Score Film Screenings and the Cinematic Experience Introduction: Live-Score Practice Live-score Performance, the “Real,” and Theories of Representation Live-score Performance and Theories of Illusion Conclusions Notes Select Bibliography Chapter 10: Leveraging a Longand Tuneful History: Perspectival Manipulation, Surround Sound, and Dolby Atmos Atmos for Cinema: 2012–2016 Going Beyond the Limits of Cinema Surround: The Expansion of Atmos, 2016–2019 The Atmos Experience: Aural Landscapes Beyond Cinema Atmos in the Context of Earlier Models of Surround, and the Historical Aim of “Auditory Perspective” An Expanded Notion of “Presence” Notes Select Bibliography Part III: REPRESENTATIONS AND RE-PRESENTATIONS Chapter 11: Making Sense of Noise and Silence in La Captive Notes Select Bibliography Chapter 12: Hearing Hearing? Reflections on the Kubrickian Soundtrack Case Study 1: “Seeing Hearing,” “Hearing Hearing,” and 2001 Case Study 2: Eyes Wide Shut and the Hearing of Narration Concluding Reflections Notes Select Bibliography Chapter 13: Countercultural Listening in Malick’s Badlands (1973) Counterculture and Radical Subjectivity Radical Subjectivity in Counterculture Music and Listening Countercultural Listening in the New Hollywood Soundtrack: The Case of Badlands Notes Select Bibliography Chapter 14: Music Lovers. Listening in (and to) Composer Biopics Concert Audiences and Other Listeners without a Personal Relationship with the Protagonist Social Milieu (and Its Personal Implications) Audience Endorsement and Historical Validation Audience Reactions as Musical Pointers Audience as Community Anachronistic Audiences and Self-Reflexivity Listeners with a Personal Relationship to the Composer Singling Out Personally Relevant Listeners Listening as Relationship Metaphor Hearing Private Meanings of Music Falling in Love with the Composer through Music Not Listening to Music Other Composers/Musicians as Expert Witnesses The Composers Themselves External Focalization: Other Music/Sounds External Focalization: The Composer’s Music Internal Focalization: Other Music/Sounds Internal Focalization: The Composer’s Music We in the Cinema Details and Doublings: An Outlook Notes Select Bibliography Chapter 15: Hi-Yo, Rossini: Hearing Pre-existing Music as Post-existing Music Marching Soldiers and Galloping Horses Branding (with) Music Structural Expectations The Blockbuster-Cinematic William Tell Notes Select Bibliography Chapter 16: “You Sorta Listen with Your Eyes”: How Audiences Talk about Film Music The Figure of the Audience in Canonic Film Music Scholarship Audiences and the Lord of the Rings Music Concluding Questions and Proposals Notes Select Bibliography Part IV: THE LISTENING BODY Chapter 17: Fist to Face: Corporeal Listening and the Cinematic Punch From Library Effect to Digital Invention: Listening to the Cinematic Punch in American Cinema Listening to Haptic Action: The Post-1980s Cinematic Punch The Meat of the Punch: Listening to a Covibratory “Digital Visceral” Notes Select Bibliography Chapter 18: The Erotics of Cinematic Listening Listening and Sensuousness The Sensuousness of Haptic Music The Musical Sensuousnessof Sound Design Conclusion Notes Chapter 19: Sensing Time and Space through the Soundtracks of Interstellar and Arrival Interstellar Overdrive: A Tale of Gravity and Awe Bending Time/Lines and Gentle Singularities: Rethinking the Laws of Physics Arrival: Human and Organic Sounds; Alien Bodies Non-linear Time, Non-spatial Space Full Circle: Embodying the Monumental, the Melancholic, and the Sublime Notes Select Bibliography Chapter 20: Listening–Feeling–Becoming: Cinema Surveillance Beyond the Panopticon Listening Feeling Becoming Conclusions Notes Select Bibliography Chapter 21: Sonic Elongation and Sonic Aporia: Two Modes of Disrupted Listening in Film Audiovisual Rupture Sonic Elongation Sonic Aporia Listening Across the Edges Notes Select Bibliography Chapter 22: The Trailer Ear: Constructions of Loudness in Cinematic Previews Trailer Loudness and TASA Trailer Loudness and Hearing Damage The Trailer Ear: Expectations andImpressions of Loudness The Trailer Ear: Expectations and Impressions of Loudness Consuming the Trailer: From Studio to Exhibition Notes Select Bibliography Part V: LISTENING AGAIN Chapter 23: Pop Music, Processing Fluency, and Pleasure: Film Songs as Both Hype and Memento Invisible Airwaves Crackle with Life: The Exposure Effect in Film and on Radio Misty Water-Colored Memories: Nostalgia and Processing Fluency Memories are Made of This: The Soundtrack Album as Souvenir Conclusion Notes Select Bibliography Chapter 24: A Movie for Speakers: Queen’s Flash Gordon and the Unified Soundtrack Album Listening to Movies without a Screen: Soundtrack Albums More Than Music: The “Unified Soundtrack Album” To Listen Is to Watch: Queen’s Authorship and Adaptation Whose Flash? Queen’s Music for Album and Screen More than Queen: Howard Blake, Sound Effects, and Performers The Voice(s) of Flash Conclusion: Flash in Space(s) Notes Select Bibliography Chapter 25: “If You Know Arabic, Indian Songs Are Easy for You”: Hindi Film Songs in Tamale, Northern Ghana Learning to Listen in Ghana’s Christian Missions and Islamic Schools Listening Patterns among Ghana’s Christian and Muslim Cinema Audiences Hindi Film Song Melodies as Educational Tools in Tamale’s Islamic Schools Conclusion Notes Select Bibliography Chapter 26: Hearing and Teaching Soundtracks as a Mother and a Daughter: A Personal, Feminist, Pedagogical Approach to Flux Hearing New Life Re-hearing a Death Dance Hearing the Same Conversation Differently, as a Mother and a Daughter Notes Select Bibliography Chapter 27: Hearing Film Music Topics outside the Movie Theatre: Listening Cinematically to Pastorals A Cognitive Framework for Cinematic Listening The Pastoral Topic The Corpus Study: Determining Cinematic Associations Analysis of Listening “Cinematically” Designing an Experiment to Test Cinematic Listening Participants Materials Procedure Data Analysis: The Meaning Extraction Method v Discussion Conclusion Notes Select Bibliography Chapter 28: Hearing Secondary Explosions: The Naudet Brothers’ 9/11 and Audiovisual (A)synchronization in Twenty-First-Century Media A New World? Listening to 9/11 Performing Synchronization in 9/11 True Asynchronicity: Performing the Naudet Footage Outside of the Film Conclusion Notes Select Bibliography Part VI: ACROSS MEDIA Chapter 29: Evolving Storylines and Patterns of Listening: The Case of Invasion at the Dawn of the Binge Age (2005–2006) Nothing Is As It Seems . . . or Sounds Out of the Deep: Modular, Familiar, Eerie Turning of the Tide: the “Hybrid Complex” and the Building of Community Tom’s Waltz; or Is It? Surviving: Figure-Ground The Toll of Sacrifice: Chimes of Lament for Believers and Non-Believers Alike The Never-Ending Story Notes Select Bibliography Chapter 30: Projections of Image on Sound: Reassessing the Relation between Music Video and Cinema The Audiovisual Hierarchies of Cinema and Music Video Narrative Trickery and Visual Polyphony in the Cinema of Michel Gondry Cinematic Images and Visualized Lyrics in the Music Videos of David Lynch Looking as Listening Notes Select Bibliography Chapter 31: Listen Again: Music Video’s Cinematic Sound scapes Narrative Sound Atmospheric Sound Subversive Sound Conclusion: Listening to Music Video Notes Select Bibliography Chapter 32: Summon the Cinematic?: Audio Mediation and Filmic Immersion in the Case of Remote Taipei Soundscape for a Film? Listening That Creates Distance Feeling the Verbal Rise of the Quasi-Virtual The Disintegrated Local Aural-Haptic-Visual Notes Select Bibliography Chapter 33: iPod Listening as an I-voice: Solitary Listeners and Imagined Interlocutors across Cinema and Personal Stereos “Listening Speaks” Listening Alone? The Cinematic iPod The Spectator as a Vicarious Addressee The Romantic Other as an Implied Listening Companion The Star Singer as an Écoutêtre From a Wish for Invisibility to a Fantasy of Being (over)Heard Notes Select Bibliography Chapter 34: Fantasias on a Theme by Walt Disney: Playful Listening and Video Games Sorcerer’s Apprentice (1983) Fantasia (1991) Fantasia: Music Evolved (2014) Playful Listening, or “How will this play out?” Notes Select Bibliography Chapter 35: Old(er) Media and New Musical Affordances in Virtual Reality Experiences Soundtrack Ecologies in 360° Videos Protocols and Remediation Affording Immersion and Presence: Music in the Virtual Lobby Google Earth VR and Musical Flânerie Notes Select Bibliography Index The Possibilities of Cinematic Listening : An Introduction / Carlo Cenciarelli -- GENEALOGIES AND BEGINNINGS. Deeds of Music in Bourgeois Opera (What the Listener Sees . . . ) / Peter Franklin ; Hearing the Shadows at the Chat Noir's Pre-cinematic Theatre / Emilio Sala ; The Courtships of Ada and Len : Mediated Musicals and Vocal Caricature Before the Cinema / Jacob Smith ; The Trickality of Listening in Early Musical Trick Films / Julie Brown ; Cinematic Listening and the Early Talkie / Jim Buhler -- LOCATIONS AND RELOCATIONS. Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture / Ben Winters ; Tasteful Networks of Attention : Language, Listening, Meaning, and Art House Exhibition / Jocelyn Szczepaniak-Gillece ; The Atmosphere Was Entirely Good Humoured : The Cinema as a Venue for Live Music in Britain in the 1950s and 1960s / Simon Frith ; Out of the Frame : Live-Score Film Screenings and the Cinematic Experience / Jeremy Barham ; Leveraging a Long and Tuneful History : Perspectival Manipulation, Surround Sound, and Dolby Atmos / Meredith C. Ward -- REPRESENTATIONS AND REPRESENTATIONS. Making Sense of Noise and Silence in La Captive / Richard Dyer ; Hearing Hearing? Reflections on the Kubrickian Soundtrack / David Code ; Countercultural Listening in Malick's Badlands (1973) / Julie Hubbert ; Music Lovers : Listening in (and to) Composer Biopics / Guido Heldt ; Hi-Yo, Rossini : Hearing Pre-existing music as Post-existing Music / Jonathan Godsall ; You Sorta Listen with Your Eyes : How Audiences Talk about Film Music Martin Barker -- THE LISTENING BODY. Fist to Face : Corporeal Listening and the Cinematic Punch / Lisa Coulthard ; The Erotics of Cinematic Listening / Danijela Kulezic-Wilson ; Time and Space through the Soundtracks of Interstellar and Arrival / John Richardson, Anna-Elena Pääkkölä, Sanna Qvick ; 20. Hearing-Feeling-Becoming : Cinema Surveillance / Miguel Mera ; Sonic Elongation and Sonic Aporia: Two Modes of Disrupted Listening in Film / Holly Rogers ; The Trailer Ear : Constructions of Loudness in Cinematic Previews / James Deaville -- LISTENING AGAIN. Pop Music, Processing Fluency, and Pleasure : Film Songs as Both Hype and Memento / Jeff Smith ; Movie for Speakers : Queen's Flash Gordon and the Integrated Soundtrack Album / Paul N. Reinsch ; If You Know Arabic, Indian Songs Are Easy For You : Hindi Film Songs in Tamale, Northern Ghana / Katie Young ; Hearing and Teaching Soundtracks as a Mother and a Daughter : A Personal, Feminist, Pedagogical Approach to Flux / Elsie Walker ; Hearing Film Music Topics outside the Movie Theatre : Listening Cinematically to Pastorals ; Janet Bourne ; Hearing Secondary Explosions : The Naudet Brothers' 9/11 and Audiovisual (A)synchronization in Twenty-First-Century Media / Randolph Jordan -- BETWEEN MEDIA. Evolving Storylines and Patterns of Listening : The Case of Invasion at the Dawn of the Binge Age (2005-2006) / Robynn Stilwell ; Projections of Image on Sound : Reassessing the Relation between Music Video and Cinema / Mathias Bonde Korsgaard ; Listen Again : Music Video's Cinematic Soundscapes / Laurel Westrup ; Summon the Cinematic? Aural Mediation and Filmic Immersion in the Case of Remote Taipei / Ya-Mong Feng ; iPod Listening as an I-voice : Cinema, Personal Stereos, and a Fantasy of Communication / Carlo Cenciarelli ; Fantasias on a Theme by Walt Disney : Playful Listening and Video Games / Tim Summers ; Old(er) Media and New Musical Affordances in Virtual Reality Experiences / Michiel Kamp 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. 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. "It has long been suggested that films have changed the way we listen, but cinema's contribution to broader listening cultures has only recently started to receive serious academic attention. Taking this issue as its central topic, The Oxford Handbook of Cinematic Listening explores-from philosophical, archival, empirical, and analytical perspectives-the genealogies of cinema's audiovisual practices, the relationship between film aesthetics and listening protocols, and the extension of cinematic modes of listening into other media and everyday situations. Featuring scholars from musicology, film studies and literary studies, ethnomusicology and sound studies, media and communications and psychology, this Handbook aims to foster new ways of thinking about the intersection between the history of listening and the history of the moving image. It offers a wealth of original case studies and novel perspectives that show how cinematic listening is constantly being redefined in relation to shifting historical, spatial, textual and theoretical frameworks"-- Provided by publisher "It has long been suggested that films have changed the way we listen, but cinema's contribution to broader listening cultures has only recently started to receive serious academic attention. Taking this issue as its central topic, The Oxford Handbook of Cinematic Listening explores-from philosophical, archival, empirical, and analytical perspectives-the genealogies of cinema's audiovisual practices, the relationship between film aesthetics and listening protocols, and the extension of cinematic modes of listening into other media and everyday situations. Featuring scholars from musicology, film studies and literary studies, ethnomusicology and sound studies, media and communications and psychology, this Handbook aims to foster new ways of thinking about the intersection between the history of listening and the history of the moving image. It offers a wealth of original case studies and novel perspectives that show how cinematic listening is constantly being redefined in relation to shifting historical, spatial, textual and theoretical frameworks"-- Résumé de l'éditeur