The Oxford handbook of cinematic listening
- Submitting institution
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Cardiff University / Prifysgol Caerdydd
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 118971440
- Type
- B - Edited book
- DOI
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- Publisher
- Oxford University Press
- ISBN
- 9780190853617
- Open access status
- -
- Month of publication
- April
- Year of publication
- 2021
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- Yes
- COVID-19 affected output statement
- The output is submitted electronically as a pdf proof of the final version ready for print.
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This volume defines a new interdisciplinary research area that lies at the intersection of the history of listening and the history of the moving image. It is the first academic project to tackle explicitly the thorny question of how cinema has shaped our listening practices.
More specifically, the Handbook offers a wide range of new case studies and methodological perspectives on six main thematic areas: 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 film. Part II (‘Locations and Relocations’) focuses on specific venues and presentational practices (from roadshow movies to 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 the role of sound as a representational surplus. Part IV (‘The Listening Body’) focuses on the power of cinematic sound to engage the full body sensorium. Part V (‘Listening again’) discusses a range of ways in which film sound is reinterpreted outside the cinema, through ancillary materials (such as soundtrack albums) and in pedagogical contexts. Part VI (‘Across Media’) considers how cinematic listening protocols are mobilised by TV series and music video, promenade theatre and personal stereos, video games and Virtual Reality.
As editor, Carlo Cenciarelli initiated the project and devised its structure, wrote the proposal, contacted contributors, sent detailed feedback on all (34) chapters, wrote a 10,000-word introduction to the field (‘The Possibilities of Cinematic Listening’), and an 8000-word chapter (‘iPod-Listening as an I-voice: Solitary Listeners and Imagined Interlocutors Across Cinema and Personal Stereos’). He also handled copyedits and proofing, prepared audio-visual material for the companion website, and liaised with the indexer.
- Author contribution statement
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- Non-English
- No
- English abstract
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