Cover
Title
Copyright
Contents
Acknowledgments
Introduction: Voices in, of, and on the Cinema / James Buhler and Hannah Lewis
Part One: Historical Approaches to Technology and the Voice
1. Apprehending Human Voice in the “Silent Cinema” / Julie Brown
2. Silencing and Sounding the Voice in Transition-Era / Hannah Lewis
3. FM Radio and the New Hollywood Soundtrack /Julie Hubbert
4. Pinewood’s Fiddler Fans Goldwyn’s Folly: London’s Battle for Postproduction Sound Business / Katherine Quanz
Part Two: The Practice of the Singing Voice
5. Vococentrism and Sound in Ingmar Bergman’s The Magic Flute / Marcia J. Citron
6. Breaking into Soundtrack in 1980s Teen Films / Cari McDonnell
7. Girls’ Voices, Boys’ Stories, and Self-Determination in Animated Films since 2012 / Robynn J. Stilwell
Part Three: The “Auteuristic” Voice of the Soundtrack
8. The Trouble with Onscreen Orchestrators: Progeny and Compositional Crisis in the Four Daughters Films / Nathan Platte
9. Some Thoughts on Genre, the Vococentric Cinema, and “Stella by Starlight” / David Neumeyer
10. Listening to Soundscapes in Kurosawa’s Dersu Uzala (1975) / Brooke McCorkle
11. Peter Weir and the Piano Concerto / Erik Heine
Part Four: Narrative and Vococentrism
12. Monocentrism, or Soundtracks in Space: Rediscovering Forbidden Planet’s Multi-Speaker Release / Eric Dienstfrey
13. Sound and the Comic/Horror Romance Film: Formula, Affect, and Inflection / Janet Staiger
14. Once More into the Breach: Interrogating Ben Winters’s Nondiegetic Fallacy / Jeff Smith
15. The End(s) of Vococentrism / James Buhler
Contributors
Index
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