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Voicing the Cinema : Film Music and the Integrated Soundtrack.

By: Contributor(s): Material type: TextTextPublisher: Champaign : University of Illinois Press, 2020Copyright date: ©2020Edition: 1st edDescription: 1 online resource (280 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780252051869
Subject(s): Genre/Form: Additional physical formats: Print version:: Voicing the CinemaDDC classification:
  • 781.54200000000003
LOC classification:
  • ML2075
Online resources:
Contents:
Cover -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction: Voices in, of, and on the Cinema -- Part One: Historical Approaches to Technology and the Voice -- 1 Apprehending Human Voice in the "Silent Cinema" -- 2 Silencing and Sounding the Voice in Transition-Era French Cinema -- 3 FM Radio and the New Hollywood Soundtrack -- 4 Pinewood's Fiddler Fans Goldwyn's Folly: London's Battle for Postproduction Sound Business -- Part Two: The Practice of the Singing Voice -- 5 Vococentrism and Sound in Ingmar Bergman's The Magic Flute -- 6 Breaking into Soundtrack in 1980s Teen Films -- 7 Girls' Voices, Boys' Stories, and Self-Determination in Animated Films since 2012 -- Part Three: The "Auteuristic" Voice of the Soundtrack -- 8 The Trouble with Onscreen Orchestrators: Progeny and Compositional Crisis in the Four Daughters Films -- 9 Some Thoughts on Genre, the Vococentric Cinema, and "Stella by Starlight" -- 10 Listening to Soundscapes in Kurosawa's Dersu Uzala (1975) -- 11 Peter Weir and the Piano Concerto -- Part Four: Narrative and Vococentrism -- 12 Monocentrism, or Soundtracks in Space: Rediscovering Forbidden Planet's Multi-Speaker Release -- 13 Sound and the Comic/Horror Romance Film: Formula, Affect, and Inflection -- 14 Once More into the Breach: Interrogating Ben Winters's Nondiegetic Fallacy -- 15 The End(s) of Vococentrism -- Contributors -- Index -- Back Cover.
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Cover -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction: Voices in, of, and on the Cinema -- Part One: Historical Approaches to Technology and the Voice -- 1 Apprehending Human Voice in the "Silent Cinema" -- 2 Silencing and Sounding the Voice in Transition-Era French Cinema -- 3 FM Radio and the New Hollywood Soundtrack -- 4 Pinewood's Fiddler Fans Goldwyn's Folly: London's Battle for Postproduction Sound Business -- Part Two: The Practice of the Singing Voice -- 5 Vococentrism and Sound in Ingmar Bergman's The Magic Flute -- 6 Breaking into Soundtrack in 1980s Teen Films -- 7 Girls' Voices, Boys' Stories, and Self-Determination in Animated Films since 2012 -- Part Three: The "Auteuristic" Voice of the Soundtrack -- 8 The Trouble with Onscreen Orchestrators: Progeny and Compositional Crisis in the Four Daughters Films -- 9 Some Thoughts on Genre, the Vococentric Cinema, and "Stella by Starlight" -- 10 Listening to Soundscapes in Kurosawa's Dersu Uzala (1975) -- 11 Peter Weir and the Piano Concerto -- Part Four: Narrative and Vococentrism -- 12 Monocentrism, or Soundtracks in Space: Rediscovering Forbidden Planet's Multi-Speaker Release -- 13 Sound and the Comic/Horror Romance Film: Formula, Affect, and Inflection -- 14 Once More into the Breach: Interrogating Ben Winters's Nondiegetic Fallacy -- 15 The End(s) of Vococentrism -- Contributors -- Index -- Back Cover.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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