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The Oxford handbook of cinematic listening / edited by Carlo Cenciarelli.

By: Cenciarelli, Carlo [editor.].
Material type: materialTypeLabelBookSeries: Oxford handbooks.Publisher: New York, NY : Oxford University Press, [2021]Copyright date: ©2021Description: xii, 774 pages : illustrations ; 25 cm.Content type: text | still image Media type: unmediated Carrier type: volumeISBN: 9780190853617 (hardback).Subject(s): Motion picture music -- History and criticism | Film soundtracks -- History and criticism | ListeningDDC classification: 781.54209 CEN
Contents:
Part I Genealogies and beginnings -- Part II Locations and relocations -- Part III Representations and Re-Presentations -- Part IV The listening body -- Part V Listening again -- Part VI Across media.
List(s) this item appears in: MTU Kerry New Books Summer 2026
Holdings
Item type Current library Call number Status Barcode
General lending MTU Kerry North Campus Library First Floor Main 781.54209 CEN (Browse shelf(Opens below)) Available 38888000967079
Total holds: 0

Enhanced descriptions from Syndetics:

The Oxford Handbook of Cinematic Listening explores the intersection between the history of listening and the history of the moving image. Featuring established and emergent scholars from musicology, film studies, and literary studies, ethnomusicology and sound studies, popular music, sociology, media and communications, and psychology, this Handbook offers a wide range of case studies and methodological perspectives on the archaeologies, aesthetics, and extensions of cinematic listening. Chapters are structured around six themes: Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing genres such as opera and shadow theatre, and explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations and Relocations") focuses on specific venues and presentational practices (from roadshow movies to and contemporary live-score screenings). Part III ("Representations and Re-presentations") zooms into the formal properties of specific films, analysing representations of listening on screen as well as on the role of sound as a representational surplus. Part IV ("The Listening Body") focuses on cinematic sound as a powerful and sensual stimulus that has the power to engage the full body sensorium. Part V ("Listening again") discusses a range of ways in which film sound is encountered and reinterpreted outside the cinema, through ancillary materials like songs and soundtrack albums, in experimental conditions, and in pedagogical contexts. Part VI ("Between Media") compares the listening protocols of cinema with those of TV series and music video, promenade theatre and personal stereos, video games and Virtual Reality.

Includes bibliographical references and index.

Part I Genealogies and beginnings -- Part II Locations and relocations -- Part III Representations and Re-Presentations -- Part IV The listening body -- Part V Listening again -- Part VI Across media.

Table of contents provided by Syndetics

  • List of Contributors (p. xi)
  • About the Companion Website (p. xiii)
  • The Possibilities of Cinematic Listening: An Introduction (p. 1)
  • Part I Genealogies and Beginnings
  • 1 "Deeds of Music" in Bourgeois Opera (What the Listener Sees...) (p. 27)
  • 2 Hearing the Shadows at the Chat Noir's Pre-cinematic Theatre (p. 42)
  • 3 The Courtships of Ada and Len: Mediated Musicals and Vocal Caricature Before the Cinema (p. 68)
  • 4 The "Trickality" of Listening in Early Musical Trick Films (p. 90)
  • 5 Cinematic Listening and the Early Talkie (p. 118)
  • Part II Locations and Relocations
  • 6 Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture (p. 139)
  • 7 Tasteful Networks of Attention: Language, Listening, Meaning, and Art House Exhibition (p. 156)
  • 8 "The Atmosphere Was Entirely Good Humoured": The Cinema as a Venue for Live Music in Britain in the 1950s and 1960s (p. 171)
  • 9 Out of the Frame: Live-Score Film Screenings and the Cinematic Experience (p. 188)
  • 10 Leveraging a Long and Tuneful History: Perspective Manipulation, Surround Sound, and Dolby Atmos (p. 211)
  • Part III Representations and Re-Presentations
  • 11 Making Sense of Noise and Silence in La Captive (p. 241)
  • 12 Hearing Hearing? Reflections on the Kubrickian Soundtrack (p. 252)
  • 13 Countercultural Listening in Malick's Badlands (1973) (p. 271)
  • 14 Music Lovers. Listening in (and to) Composer Biopics (p. 293)
  • 15 Hi-Yo, Rossini: Hearing Pre-existing Music as Post-existing Music (p. 317)
  • 16 "You Sorta Listen with Your Eyes": How Audiences Talk about Film Music (p. 336)
  • Part IV The Listening Body
  • 17 Fist to Face: Corporeal Listening and the Cinematic Punch (p. 355)
  • 18 The Erotics of Cinematic Listening (p. 368)
  • 19 Sensing Time and Space through the Soundtracks of Interstellar and Arrival (p. 385)
  • 20 Listening-Feeling-Becoming: Cinema Surveillance (p. 407)
  • 21 Sonic Elongation and Sonic Aporia: Two Modes of Disrupted Listening in Film (p. 427)
  • 22 The Trailer Ear: Constructions of Loudness in Cinematic Previews (p. 450)
  • Part V Listening Again
  • 23 Pop Music, Processing Fluency, and Pleasure: Film Songs as Both Hype and Memento (p. 469)
  • 24 A Movie for Speakers: Queen's Flash Gordon and the Unified Soundtrack Album (p. 489)
  • 25 "If You Know Arabic, Indian Songs Are Easy For You": Hindi Film Songs in Tamale, Northern Ghana (p. 508)
  • 26 Hearing and Teaching Soundtracks as a Mother and a Daughter: A Personal, Feminist, Pedagogical Approach to Flux (p. 529)
  • 27 Hearing Film Music Topics Outside the Movie Theatre: Listening Cinematically to Pastorals (p. 549)
  • 28 Hearing Secondary Explosions: The Naudet Brothers' 9/11 and Audiovisual (A)synchronization in Twenty-First-Century Media (p. 575)
  • Part VI Across Media
  • 29 Evolving Storylines and Patterns of Listening: The Case of Invasion at the Dawn of the Binge Age (2005-2006) (p. 597)
  • 30 Projections of Image on Sound: Reassessing the Relation between Music Video and Cinema (p. 619)
  • 31 Listen Again: Music Video's Cinematic Soundscapes (p. 639)
  • 32 Summon the Cinematic? Audio Mediation and Filmic Immersion in the Case of Remote Taipei (p. 655)
  • 33 iPod Listening as an I-voice: Solitary Listeners and Imagined Interlocutors across Cinema and Personal Stereos (p. 669)
  • 34 Fantasias on a Theme by Walt Disney: Playful Listening and Video Games (p. 690)
  • 35 Old(er) Media and New Musical Affordances in Virtual Reality Experiences (p. 712)
  • Index (p. 737)

Author notes provided by Syndetics

Carlo Cenciarelli is Lecturer at the School of Music, Cardiff University. His writings on the cinematic representation (and remediation) of listening have been published in edited collections and in academic journals including Music and Letters, Twentieth-Century Music, Cambridge Opera Journal, and the Journal of the Royal Musical Association.