Tools

LEADER 03541cam a2200433 i 4500

003 OCoLC;

005 20190104160826.4;

008 180209t20192019nyuad b 001 0 eng ;

010 a| 2018006090;

020 a| 9780199371082;

020 a| 9780199371075q| hardcover ;q| alkaline paper;

020 a| 0199371075q| hardcover ;q| alkaline paper;

020 a| 0199371083q| paperback ;q| alkaline paper;

035 a| 99980101372;

035 a| (OCoLC)1023821215;

042 a| pcc;

050 00 a| ML2075b| .B844 2019;

082 00 a| 781.5/42012| 23;

100 1 a| Buhler, James,d| 1964-e| author.=| ^A463100;

245 10 a| Theories of the soundtrack /c| James Buhler.;

300 a| xiv, 318 pages ;c| 24 cm.;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

490 1 a| The Oxford music / media series;

504 a| Includes bibliographical references (pages 291-308) and index.;

505 0 a| Introduction -- Early theories of the sound film -- Theories of the classical sound film : grammars and typologies -- Language, semiotics, and Deleuze -- Neoformalism and four models of the soundtrack -- Narratology and the soundtrack -- Critical theory and the soundtrack -- Psychoanalysis, apparatus theory, and subjectivity -- Theories of the digital soundtrack.;

520 a| A theory of the soundtrack is concerned with what belongs to the soundtrack, how a soundtrack is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound and music, classify the types of relations that films have used for image and sound, identify the central problems, and reflect on and describe effective uses of sound in film. This book summarizes and critiques major theories of the soundtrack from roughly 1929 until today. Rather than providing an exhaustive historical survey, it sketches out the range of theoretical approaches that have been applied to the soundtrack since the commercial introduction of the sound film. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories. The organization is both chronological and topical, the former in that the chapters move steadily from early film theory through models of the classical system to more recent critical theories; the latter in that the chapters highlight central issues for each generation: the problem of film itself, then of image and sound, of adequate analytical-descriptive models, and finally of critical-interpretative models.;

650 0 a| Motion picture musicx| History and criticism.=| ^A20620;

650 0 a| Film soundtracksx| History and criticism.=| ^A469055;

650 0 a| Motion picture musicx| Philosophy and aesthetics.=| ^A1181194;

830 0 a| Oxford music/media series.=| ^A1256002;

960 o| 1s| 35.00t| Joyner48u| JILLz| USD;

982 a| 99980101372;

998 a| 5084461;

596 a| 3;

999 a| ML2075 .B844 2019w| LCc| 1i| 30372017308971d| 8/5/2025e| 7/7/2025f| 4/9/2024g| 1l| MSTm| JMUSICn| 1r| Ys| Yt| MGESBKu| 11/6/2019x| BOOKz| MCIRCo| .STAFF. jjad/jjab;

Theories of the soundtrack / James Buhler.

Author/creator	Buhler, James, 1964- author.
Format	Book
Publication Info	New York, NY : Oxford University Press, ©2019.
Description	xiv, 318 pages ; 24 cm.
Subjects	Motion picture music--History and criticism. Film soundtracks--History and criticism. Motion picture music--Philosophy and aesthetics.

Series	The Oxford music / media series Oxford music/media series. ^A1256002
Contents	Introduction -- Early theories of the sound film -- Theories of the classical sound film : grammars and typologies -- Language, semiotics, and Deleuze -- Neoformalism and four models of the soundtrack -- Narratology and the soundtrack -- Critical theory and the soundtrack -- Psychoanalysis, apparatus theory, and subjectivity -- Theories of the digital soundtrack.
Abstract	A theory of the soundtrack is concerned with what belongs to the soundtrack, how a soundtrack is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound and music, classify the types of relations that films have used for image and sound, identify the central problems, and reflect on and describe effective uses of sound in film. This book summarizes and critiques major theories of the soundtrack from roughly 1929 until today. Rather than providing an exhaustive historical survey, it sketches out the range of theoretical approaches that have been applied to the soundtrack since the commercial introduction of the sound film. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories. The organization is both chronological and topical, the former in that the chapters move steadily from early film theory through models of the classical system to more recent critical theories; the latter in that the chapters highlight central issues for each generation: the problem of film itself, then of image and sound, of adequate analytical-descriptive models, and finally of critical-interpretative models.
Bibliography note	Includes bibliographical references (pages 291-308) and index.
LCCN	2018006090
ISBN	9780199371082
ISBN	9780199371075 hardcover ; alkaline paper
ISBN	0199371075 hardcover ; alkaline paper
ISBN	0199371083 paperback ; alkaline paper

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Music	Music Stacks	ML2075 .B844 2019	✔ Available	Place Hold

Theories of the soundtrack / James Buhler.

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