Table of Contents
PREFACE
INTRODUCTION
PART I: The Sound Track and Film Narrative: Basic Terms and Concepts
Introduction to Part I
Chapter 1: The Sound Track and Narrative
Introduction
Basics: Image Track, Sound Track, Narrative
Sound Track Components and Narrative
Example for Sound Track Components and Narrative (1): Sleepless in Seattle, Second Botched Meeting
Example for Sound Track Components and Narrative (2): Good Will Hunting, Boston Common Scene
Hearing the Sound Track as Music: Masking
Experimenting with Music and Image: The Commutation Test
Summary
Chapter 2: The Musicality of the Sound Track: Concepts and Terminology
Introduction
Music and Sound
Timbre
Texture
Example for Sound Track Analysis Using Musical Terms: Atonement, Main Title Sequence and First Scene
Summary
Chapter 3: Music, Sound, Space, and Time: Concepts and Terminology
Introduction
Space (1): Diegetic/Nondiegetic Music and Narrative
Space (2): Onscreen/Offscreen Sound and Music
Space (3): Offscreen Sound and Music in Relation to the Diegesis
Time (1): Transitions Between Scenes
Time (2): Synchronization ("Playing with the Film")
Time (3): Counterpoint ("Playing against the Film")
Writing Task #1: How to Write a Synopsis
A Note on Writing about the Sound Track
Summary
PART II: Music and the Sound Track: From the Beginning to 1970
Introduction to Part II
Chapter 4: From 1895 to 1929: Music and Sound in Early Film
Introduction
The Early Years
The Nickelodeon
The Picture Palace
Characteristic Music Practices in the Later Silent Era
Analysis: Silent Film with Historically Appropriate Music: Lady Windermere's Fan (1925)
Summary
A Note on the Music for Silent Film Releases to VHS and DVD
Chapter 5: From 1926 to 1932: The Transition to Sound Film
Introduction
Issues of Technology and Economics
Production
Mastering the Sound Track and Elements of Style
Summary
Chapter 6: The Broadway Melody (1929) and 42nd Street (1933): Analyzing Sound and Image in a Film Scene
Introduction
Music in Film Form
Formal Screening Notes
Scene Analysis
Writing a Scene Analysis Paper
Summary
Chapter 7: From 1932 to 1950: Music and the Sound Track in the Classical Studio Era
Introduction
Issues of Technology and Economics
Production
The Sound Track in the Studio Era and Elements of Style
Critiques of Hollywood Underscoring Practices
The Sound Track in the Studio Era and Elements of Film Form
Summary
Chapter 8: Mildred Pierce (1945): Writing About Film Sound and Music
Introduction
Screening Report: Overview and Procedure
Other Approaches to Mildred Pierce
Concluding Comments
Chapter 9: From 1950 to 1975, Part 1: The Stereo Sound Track and the Post-Classical Era
Introduction
Issues of High Fidelity and Stereo Sound
Production
Stereo Sound, Magnetic Tape, and Elements of Style
Summary
Chapter 10: From 1950 to 1975, Part 2: The Sound Track and Film Form in the Post-Classical Era
Introduction
Hollywood Studio Films 1: The Sound of Music (1965)
Hollywood Studio Films 2: The Graduate (1967)
Battle Scenes from Four War Films
Nonconventional Hollywood Film: Psycho (1960)
Japanese Film, Hollywood Style: Rashômon
Reciprocal Influence: Yojimbo (1961) & Per un pugno di dollari (A Fistful of Dollars; 1964, US 1967)
Writing a Compare-Contrast Paper
PART III: Music and the Sound Track Since 1975
Introduction to Part III
Chapter 11: From 1975 to 2000, Part 1: The New Hollywood, Dolby Stereo and the Emergence of Sound Design
Introduction
Issues of Technology and Economics
Production
Sound Design and Elements of Style
Summary
Chapter 12: From 1975 to 2000, Part 2: The Sound Track and Film Form in The New Hollywood
Introduction
Mainstream Dramatic Film: Out of Africa (1985)
Mainstream Romantic Comedy: When Harry Met Sally (1989)
Battle Scenes from Five War Films: Apocalypse Now, Platoon, Gallipoli, Glory, and Saving Private Ryan
Action Films and Opening Prologues: Bond Films, Raiders of the Lost Ark, Terminator 2: Judgment Day, and The Matrix
A French Film, La Cage aux Folles (1978), Remade in America as The Birdcage (1996)
Using Scene Comparison to Construct a Historical Argument
Chapter 13: Music and Film Sound Since 2000, Part 1: Digital Film, Digital Sound
Introduction: The Digital Era
Issues of Technology and Economics
Production
Digital Sound and Elements of Style
Summary
Chapter 14: Music and Film Sound Since 2000, Part 2: The Sound Track and Film Form
Introduction
Mainstream Dramatic Film: The Hours (2002)
Action Films Today
Two Versions of a Jane Austen Novel: Bridget Jones's Diary (2001) and Pride & Prejudice (2005)
Chapter 15: Writing about Music and Film Sound: Interpretation
Introduction
Review of Previous Steps Using Catch Me If You Can
Note on the Compare/Contrast Paper
Developing a Reading (1): Finding a Thesis
Developing a Reading (2): Reading against the Grain
Conclusion
GLOSSARY
CREDITS
NOTES
INDEX
