Voicing the Cinema

James Buhler is a professor of music theory at the University of Texas at Austin. He is author of Theories of the Soundtrack and a coauthor of Hearing the Movies: Music and Sound in Film History. Hannah Lewis is an assistant professor of musicology at the University of Texas at Austin. She is the author of French Musical Culture and the Coming of Sound Cinema.

CoverTitleCopyrightContentsAcknowledgmentsIntroduction: Voices in, of, and on the Cinema / James Buhler and Hannah LewisPart One: Historical Approaches to Technology and the Voice1. Apprehending Human Voice in the “Silent Cinema” / Julie Brown2. Silencing and Sounding the Voice in Transition-Era / Hannah Lewis3. FM Radio and the New Hollywood Soundtrack /Julie Hubbert4. Pinewood’s Fiddler Fans Goldwyn’s Folly: London’s Battle for Postproduction Sound Business / Katherine QuanzPart Two: The Practice of the Singing Voice5. Vococentrism and Sound in Ingmar Bergman’s The Magic Flute / Marcia J. Citron6. Breaking into Soundtrack in 1980s Teen Films / Cari McDonnell7. Girls’ Voices, Boys’ Stories, and Self-Determination in Animated Films since 2012 / Robynn J. StilwellPart Three: The “Auteuristic” Voice of the Soundtrack8. The Trouble with Onscreen Orchestrators: Progeny and Compositional Crisis in the Four Daughters Films / Nathan Platte9. Some Thoughts on Genre, the Vococentric Cinema, and “Stella by Starlight” / David Neumeyer10. Listening to Soundscapes in Kurosawa’s Dersu Uzala (1975) / Brooke McCorkle11. Peter Weir and the Piano Concerto / Erik HeinePart Four: Narrative and Vococentrism12. Monocentrism, or Soundtracks in Space: Rediscovering Forbidden Planet’s Multi-Speaker Release / Eric Dienstfrey13. Sound and the Comic/Horror Romance Film: Formula, Affect, and Inflection / Janet Staiger14. Once More into the Breach: Interrogating Ben Winters’s Nondiegetic Fallacy / Jeff Smith15. The End(s) of Vococentrism / James BuhlerContributorsIndexBack cover