Theories of the soundtrack:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Oxford University Press
[2019]
|
| Schriftenreihe: | The Oxford music / media series
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xiv, 318 Seiten Illustrationen |
| ISBN: | 9780199371082 9780199371075 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804179178306666496 |
|---|---|
| adam_text | CONTENTS
Acknowledgments xi
1. Introduction 1
Five Vignettes of Early Sound Film 2
The Hybridity of Sound Film 5
Sound Film, an Audiovisual Medium 9
Film Sound and “Occult Aesthetics” 11
This Volume 16
2. Early Theories of the Sound Film 23
Introduction: The Specificity of the Sound Film 23
The Statement on Sound and the Concept of Counterpoint 26
Sergei Eisenstein and Counterpoint 27
Vsevolod Pudovkin and Asynchronous Sound 28
The Case of Deserter 30
Perceptual Realism 32
Bela Balazs and the Physiognomy of the Voice 34
Rudolf Arnheim and the Unity of Sound 40
Harry Potamkin and the Compound Cinema 51
3. Theories of the Classical Sound Film: Grammars and Typologies 57
Introduction 57
Sergei Eisenstein and Vertical Montage 60
Modes of Synchronicity 63
Aaron Copland and the Functions of Film Music 65
Functions 65
Reservations 67
Hanns Eisler and Theodor W. Adorno and Critical Theory 69
Contra Eisenstein 69
The Negative Thesis: Sham Identity 70
Bad Habits 73
The Classical System and the Typological Analysis 76
Raymond Spottiswoode and Film Grammar 77
Siegfried Kracauer and the Types of Cinematic Sound 80
Roger Manvell and John Huntley and “Functional” Music 82
On the Difference between Realistic and Nonrealistic Music 83
Contents
4. Language, Semiotics, and Deieuze 87
The Linguistic Analogy 87
Jean Mitry and Language and Rhythm 89
Semiotics of Film/Semiotics of Music 98
Christian Metz and Aural Objects 100
Gilles Deieuze and the Movement-Image 102
Zero-Point; Perception-Image 103
Firstness: Affection-Image 104
First Intermediary Stage: Impulse-Image 106
Secondness: Action-Image 108
Large Action Form 109
Small Action Form 112
Second Intermediary Stage: Reflection-Image 114
Thirdness: Relation-Image 116
5. Neoformalism and Four Models of the Soundtrack 119
Introduction: Semiotics and Formalism 119
Neoformalism 119
Kristin Thompson and the Analytical Approach 121
David Bordwell and the Music(ologic)al Analogy 123
Noel Carroll and Modifying Music 124
Formal Models of Music and Film X27
Kathryn Kalinak and Captain Blood 127
A Working Model of Film Music 129
General Considerations 129
Explicit Relations of Music to Narrative 132
Implicit Relations of Music to Narrative 133
Combining Implicit and Explicit Relations of Music to Narrative 135
Nicholas Cook and Multimedia Systems 136
David Neumeyer and Vococentrism 139
Annabel Cohen and the Congruence-Association Model 145
6. Narratology and the Soundtrack 151
Introduction 151
Narratology and Film 152
Narratology and the Soundtrack 158
Claudia Gorbman and Narrative Functions 138
Sarah Kozloffand the Narrative Functions of Dialogue 161
Michel Chion and the Audiovisual Scene 163
Giorgio Biancorosso and the Cinematic Imagination 167
Robynn Stilwell and the Fantastical Gap 168
Jeff Smith and Film Narration 169
Ben Winters and the Nondiegetic Fallacy 172
Guido Heldt and Levels of Narration 176
Contents
lx
Music and Focalization 177
Focalization in Casablanca 182
Conclusion 184
7. Critical Theory and the Soundtrack 187
Introduction 187
Hermeneutics of Suspicion 189
Ideology of Content (1): Topic Theory 189
Ideology of Content (2): The Table of Knowledge and
Communicative Efficiency 194
Musical Topics: A Postcolonial Critique 197
Ideology of System 199
Ideology of Apparatus 202
Gender, Sexuality, and the Soundtrack 204
Soundtrack Theory and Feminist Theory 204
Soundtrack Theory and Queer Theory 208
Queering Asynchronous Sound 210
Queerness and Spectacle 211
Suddenly; Last Summer (1959) and the Economy of Sacrifice 212
The Hours (2002) and Sacrificial Inversion 218
8. Psychoanalysis, Apparatus Theory, and Subjectivity 221
Introduction 221
The Appareil 224
Jean-Louis Baudry and the Basic Cinematographic Apparatus 224
Jean-Louis Comolli and Technique and Ideology 225
Mary Ann Doane and the Ideology of Sound Editing 227
Rick Altman and the Heterogeneity of Sound 228
James Lastra and Representational Technology 232
Music and the Appareil 233
The Dispositif 23 5
Jean-Louis Baudry and the Dispositif 235
Jean-Louis Comolli and the Dispositif 236
Christian Metz and Enunciation 236
Dispositif and Suture 237
Mary Ann Doane and the Fantasmatic Body 241
Pascal Bonitzer and the Voiceover and Voice-Off 242
Suture and the Soundtrack 243
Jeff Smith and the Critique of the Psychoanalytical Model of Film
Music 24s
Neo-Lacanian Theory 246
The Gaze and the Voice 246
Michel Chion and “1here Is No Soundtrack” 249
Mimetic Synchronization and the Sexual Relation 231
Michel Chion and Rendering 234
X
Contents
9. Theories of the Digital Soundtrack 257
Introduction 257
The Ontological Divide 261
Animated Image, Stylized Sound: The Radical Effects of Digital
Rendering 266
Music, Sound Design, and Digital Audio Production 270
Theories of Stereophonic Sound 273
Affective Intensities, the Withering of the Leitmotif, and the Withdrawal of
Identity 279
Postclassical Cinema and the Fraying of Narrative 284
Conclusion 288
Bibliography 291
Index 309
|
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| language | English |
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| physical | xiv, 318 Seiten Illustrationen |
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| spelling | Buhler, James 1964- Verfasser (DE-588)1024738043 aut Theories of the soundtrack James Buhler New York Oxford University Press [2019] © 2019 xiv, 318 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier The Oxford music / media series Includes bibliographical references and index Motion picture music History and criticism Film soundtracks History and criticism Motion picture music Philosophy and aesthetics Theorie (DE-588)4059787-8 gnd rswk-swf Filmmusik (DE-588)4017129-2 gnd rswk-swf Filmmusik (DE-588)4017129-2 s Theorie (DE-588)4059787-8 s DE-604 Erscheint auch als Online-Ausgabe 978-0-19-937109-9 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030738885&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Buhler, James 1964- Theories of the soundtrack Motion picture music History and criticism Film soundtracks History and criticism Motion picture music Philosophy and aesthetics Theorie (DE-588)4059787-8 gnd Filmmusik (DE-588)4017129-2 gnd |
| subject_GND | (DE-588)4059787-8 (DE-588)4017129-2 |
| title | Theories of the soundtrack |
| title_auth | Theories of the soundtrack |
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| title_full_unstemmed | Theories of the soundtrack James Buhler |
| title_short | Theories of the soundtrack |
| title_sort | theories of the soundtrack |
| topic | Motion picture music History and criticism Film soundtracks History and criticism Motion picture music Philosophy and aesthetics Theorie (DE-588)4059787-8 gnd Filmmusik (DE-588)4017129-2 gnd |
| topic_facet | Motion picture music History and criticism Film soundtracks History and criticism Motion picture music Philosophy and aesthetics Theorie Filmmusik |
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