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Summary:

"Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies drawn from such disciplines as musicology, music theory, film and media studies, and sound studies. Yet, despite the diversity of approaches, the logic of the soundtrack and the relationship among its various components remains underexplored and undertheorized. The voice has long been an object of focus of many theoretical approaches to sound in cinema. But because of the way it relates to meaning and hierarchy, "voice" is also a useful metaphorical conceit for thinking about relations within the soundtrack. "Voice" can have multiple meanings when considering the integrated soundtrack and its position in the history of film music and sound. This volume builds on existing scholarship on music and film sound, with particular attention to the concepts of the voice in cinema, vococentrism, and the integrated soundtrack. What is the cinematic significance of the singing voice? How do music and dialogue interact in cinema? To what extent, if any, is silent film vococentric? Is vococentrism still a useful category to apply to conetmporary postclassical film? These are some of the questions the essays in this volume will address"-- [Provided by publisher]

Table of Contents:

• Machine generated contents note: pt. One Historical Approaches to Technology and the Voice
• 1. Apprehending Human Voice in the "Silent Cinema" / Julie Brown
• 2. Silencing and Sounding the Voice in Transition-Era French Cinema / Hannah Lewis
• 3. FM Radio and the New Hollywood Soundtrack / Julie Hubbert
• 4. Pinewood's Fiddler Fans Goldwyn's Folly: London's Battle for Postproduction Sound Business / Katherine Quanz
• pt. Two Practice of the Singing Voice
• 5. Vococentrism and Sound in Ingmar Bergman's The Magic Flute / Marcia J. Citron
• 6. Breaking into Soundtrack in 1980s Teen Films / Cari McDonnell
• 7. Girls' Voices, Boys' Stories, and Self-Determination in Animated Films since 2011 / Robynn J. Stilwell
• pt. Three "Auteuristic" Voice of the Soundtrack
• 8. Trouble with Onscreen Orchestrators: Progeny and Compositional Crisis in the Four Daughters Films / Nathan Platte
• 9. Some Thoughts on Genre, the Vococentric Cinema, and "Stella by Starlight" / David Neumeyer
• 10. Listening to Soundscapes in Kurosawa's Dersu Uzala (1975) / Brooke McCorkle
• 11. Peter Weir and the Piano Concerto / Erik Heine
• pt. Four Narrative and Vococentrlsm
• 12. Monocentrism, or Soundtracks in Space: Rediscovering Forbidden Planet's Multi-Speaker Release / Eric Dienstfrey
• 13. Sound and the Comic/Horror Romance Film: Formula, Affect, and Inflection / Janet Staiger
• 14. Once More into the Breach: Interrogating Ben Winters s Nondiegetic Fallacy / Jeff Smith
• 15. End(s) of Vococentrism / James Buhler.

Contributors:

Buhler, James, 1964- , editor

Lewis, Hannah, 1985- , editor

Languages:

English

Language Notes:

Item content: English

Other Related Resources:

Print version: Voicing the cinema (Urbana : University of Illinois Press, 2020 — ISBN 9780252043000; LCCN 2019035094)

Subjects:

Motion picture music — History and criticism

Film soundtracks

Voice in motion pictures

General Notes:

Includes bibliographical references and index.
Description based on print version record and CIP data provided by publisher; resource not viewed.

Physical Description:

1 online resource

Call Numbers:

ML2075 .V653 2020eb

ISBNs:

0252051866
9780252051869 (electronic bk.)
9780252043000 (cloth) [Invalid]
9780252084867 (paperback) [Invalid]

Library of Congress Control Numbers:

2019035095

OCLC Numbers:

1121419482

Other Control Numbers:

2334639 (source: EbpS)
[Unknown Type]: ybp301160447