| Acknowledgements | p. xiii |
| Introduction | p. 1 |
| Sound in Film and Visual Media | |
| Technologies | |
| Sound Technology | p. 15 |
| Sounds Reel: Tracking the Cultural History of Film Sound Technology | |
| The Soundtrack | p. 42 |
| Music in the Evolving Soundtrack | |
| The Transition to Sound | p. 58 |
| A Critical Introduction | |
| Silence | p. 87 |
| Film Sound and the Poetics of Silence | |
| The Click Track | p. 100 |
| The Business of Time: Metronomes, Movie Scores and Mickey Mousing | |
| The Synthesizer | p. 114 |
| The Electronic Musical Instrument in Film Song and Sound | |
| Video Game Music | p. 129 |
| High Scores: Making Sense of Music and Video Games | |
| Soundscapes | |
| Sound Effects | p. 151 |
| Strategies for Sound Effects in Film | |
| Leitmotif | p. 180 |
| Persuasive Musical Narration | |
| The Western | p. 194 |
| Affective Sound Communities | |
| Comedy | p. 208 |
| They Go Boom! Some Reflections on Sound in Film Comedy | |
| Horror | p. 219 |
| Music of the Night: Horror's Soundtracks | |
| Science Fiction | p. 231 |
| How High the Moon?: Science Fiction and Popular Music | |
| The Film Musical | p. 250 |
| Showcasing Musical Performance | |
| Television Musicals | p. 261 |
| Unifying the Audience: An Overview of Television Musicals | |
| Rockumentary | p. 284 |
| Reel to Real: Cinema Verite, Rock Authenticity and the Rock Documentary | |
| Culture | |
| Sound in Indian Cinema | p. 303 |
| Beyond the Song Sequence: Theorizing Sound in Indian Cinema | |
| African American Film Sound | p. 325 |
| Scoring Blackness | |
| Sound in Italian Cinema | p. 340 |
| But the Bells are the Voice of God: Diegetic Music in Post-War Italian Cinema | |
| Sound in French Cinema | p. 352 |
| To Cut or Let Live: The Soundtrack According to Jean-Luc Godard | |
| Hong Kong Cinema | p. 363 |
| Sound and Music in Hong King Cinema | |
| Women in Hollywood Cinema | p. 375 |
| Women Through Music in Golden Age Hollywood Cinema | |
| Television Talent Shows | p. 388 |
| 'Thank You, Voters': Approaching the Audience for Music and Television in the Reality-Pop Phenomenon | |
| MTV | p. 406 |
| Contemporary Music Video Culture in Television and Film Drama: Narrative, Performance and (Post)Modernity | |
| People | |
| Voice | p. 425 |
| A Semiotics of the Voice | |
| Hitchcock and Herrmann | p. 437 |
| Music, Sexual Violence and Cultural Change in | |
| Murch and Burtt | p. 452 |
| Walter Murch and Ben Burtt: The Sound Designer as Composer | |
| John Williams | p. 463 |
| The Film Music of John Williams | |
| Randy Newman | p. 472 |
| Randy Newman: Shaping a Complicated Musical Landscape | |
| Brian Eno | p. 480 |
| Brian Eno: Discreet Vision | |
| Philip Glass | p. 493 |
| Cultural Recycling, Performance and Immediacy in Philip Glass's Film Music for Godfrey Reggio's Qatsi Trilogy | |
| John Barry | p. 505 |
| 007 and Counting: An Assessment of John Barry's Soundtrack Work on the Eon/James Bond Series from 1962 to 1969 | |
| Danny Elfman | p. 524 |
| Danny Elfman: 'Funny Circus Mirrors' | |
| Industry | |
| BBC | p. 533 |
| The BBC: A Public Service Sound? | |
| Sound Design | p. 555 |
| Sound Design in New Hollywood Cinema | |
| Emigre Film Composers | p. 569 |
| Emigre Film Composers and Hollywood's Golden Age (1933-1955) | |
| Avant-Garde Film | p. 574 |
| Sound, Music and Avant-Garde Film Culture Before 1939 | |
| Art Animation | p. 588 |
| Music in Art Animation | |
| Disney | p. 602 |
| Steamboat Willie and the Seven Dwarves: The Disney Blueprint for Sound and Music in Animated Films | |
| TV News Music | p. 612 |
| Television News Music in North America | |
| Advertising Music | p. 617 |
| Strategies of Imbuement in Television Advertising Music | |
| Approaches | |
| Musematic Analysis | p. 635 |
| Film Music, Anti-depressants and Anguish Management | |
| The Sound of Fear | p. 657 |
| Psychoanalysis and Affection in Film Music | |
| Minimalist Music | p. 671 |
| Parallel Symmetries? The Relationship Between Minimalist Music and Multimedia Forms | |
| Scoring East of Eden | p. 692 |
| The Division of the 'One': Leonard Rosenman and the Score for East of Eden | |
| Film Musicology | p. 725 |
| The Development of Film Musicology: An Overview | |
| Metamusic | p. 739 |
| Metamusic in the Age of Metamediation | |
| Notes on the Contributors | p. 755 |
| Bibliography | p. 767 |
| Filmography | p. 819 |
| Musicography | p. 837 |
| Broadcast Bibliography | p. 849 |
| Index | p. 853 |
| Table of Contents provided by Ingram. All Rights Reserved. |
