The Oxford Handbook of Cinematic Listening

SUMARIO: 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 ; James 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 re-presentations. Making sense of noise and silence in La captive ; Richard Dyer / Hearing hearing? Reflections on the Kubrickian soundtrack ; David J. 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 / Sensing time and space through the soundtracks of Interstellar and Arrival ; John Richardson, Anna-Elena Pa¨a¨kko¨la¨, and Sanna Qvick / Listening-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 / A movie for speakers : Queen's Flash Gordon and the unified 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 / Across media. Evolving storylines and patterns of listening : the case of Invasion at the dawn of the binge age (2005-2006) ; Robynn J. 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? Audio mediation and filmic immersion in the case of Remote Taipei ; Ya-Feng Mon / iPod listening as an i-voice : solitary listeners and imagined interlocutors across cinema and personal stereos ; 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.