The Oxford Handbook of Cinematic Listening

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.

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