The Oxford Handbook of Film Music Studies

Cover\nContents\nContributors\n1. Overview\nPART I: FILM MUSIC: CENTRAL QUESTIONS\n	2. Music and the Ontology of the Sound Film: The Classical Hollywood System\n	3. Opera and Film\n	4. Visual Representation of Film Sound as an Analytical Tool\n	5. Film Music from the Perspective of Cognitive Science\n	6. Composing for Film: Hanns Eisler’s Lifelong Film Music Project\n	7. Ontological, Formal, and Critical Theories of Film Music and Sound\nPART II: GENRE AND PLATFORM\n	8. Drawing a New Narrative for Cartoon Music\n	9. Genre Theory and the Film Musical\n	10. “The Tunes They Are A-changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film\n	11. The Compilation Soundtrack from the 1960s to the Present\n	12. The Origins of Musical Style in Video Games, 1977–1983\nPART III: INTERPRETATIVE THEORY AND PRACTICE\n	13. Classical Music, Virtual Bodies, Narrative Film\n	14. Gender, Sexuality, and the Soundtrack\n	15. Psychoanalysis, Apparatus Theory, and Subjectivity\n	16. Case Studies: Introduction\n	17. The Order of Sanctity: Sound, Sight, and Suasion in The Ten Commandments\n	18. Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam’s 12 Monkeys\nPART IV: CONTEMPORARY APPROACHES TO ANALYSIS\n	19. Transformational Theory and the Analysis of Film Music\n	20. Listening in Film: Music/Film Temporality, Materiality, and Memory\n	21. Auteurship and Agency in Television Music\nPART V: HISTORICAL ISSUES\n	22. When the Music Surges: Melodrama and the Nineteenth-century Theatrical Precedents for Film Music Style and Placement\n	23. Audio-visual Palimpsests: Resynchronizing Silent Films with “Special” Music\n	24. Performance Practices and Music in Early Cinema outside Hollywood\n	25. Performing Prestige: American Cinema Orchestras, 1910–1958\nIndex\n	A\n	B\n	C\n	D\n	E\n	F\n	G\n	H\n	I\n	J\n	K\n	L\n	M\n	N\n	O\n	P\n	Q\n	R\n	S\n	T\n	U\n	V\n	W\n	X\n	Y\n	Z