Intro -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- List of Table -- Chapter 1: Introduction -- Note -- References -- Part I: Boundaries and Their Disintegration -- Chapter 2: From Noise: Blurring the Boundaries of the Soundtrack -- Alan Splet -- Noise -- Sound -- Music -- Silence -- Conclusion -- Notes -- References -- Chapter 3: Interview 1: Sound Recording, Sound Design and Collaboration-An Interview with Ann Kroeber -- Chapter 4: Organizing Sound: Labour Organizations and Power Struggles that Helped Define Music and Sound in Hollywood -- Introduction -- Framing the Time: A Crucible of Change -- The End is Nigh: Canned Sound is Coming! -- A Long Hurricane Tail-End -- Notes -- References -- Chapter 5: Mixing as a Hyperorchestration Tool -- Music and the Western Score -- Extending the Orchestra with Sample Libraries -- Hyperinstruments -- Hyperorchestration Principles -- Conclusion: Composition as Sound Design -- Notes -- References -- Chapter 6: Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films -- Silent Hill Adaptation -- Silent Hill Game Sound and Music -- Silent Hill Film Sound and Music -- The Unified Soundtrack: Game-Film Continuum -- Conclusion -- Notes -- References -- Part II: Presence, Immersion, Space -- Chapter 7: Towards 3-D Sound: Spatial Presence and the Space Vacuum -- Spatial Presence -- Ye Cannae Change the Laws of Physics3 -- Pseudo-Silence: Houston We Have a Problem -- 3-D Sound or the Gravitational Pull of Gravity -- Conclusions -- Notes -- References -- Chapter 8: Inner and Outer Worlds in the Film Gravity: A Multidisciplinary Approach -- The Sound of Terror -- The Sound of Dream States -- The Sound of Joy -- Conclusion -- References -- Chapter 9: Intertwining Music and Sound in Film -- A Focus on the Act of Listening.

'Open Listening' in the Context of Musical History -- Musique Concrète as the Basis of the Intertwining of Music and Sound in Film -- Embodied Resonating Listening and the First-Person Perspective in Film -- Listening from Within as an Embodied Listening -- Conclusion -- Notes -- References -- Chapter 10: Interview 2: Reality and Representation-An Interview with Dario Marianelli -- Part III: Listening: Affect and Body -- Chapter 11: Sound Effects/Sound Affects: 'Meaningful' Noise in the Cinema -- Notes -- References -- Chapter 12: Listening to Violence: Point-of-Audition Sound, Aural Interpellation, and the Rupture of Hearing -- Notes -- References -- Chapter 13: Acoustic Disgust: Sound, Affect, and Cinematic Violence -- Notes -- References -- Part IV: Time and Memory -- Chapter 14: Mad Sound and the Crystal-Image: The Soundtrack of Rivette's L'Amour fou -- Notes -- References -- Chapter 15: The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound -- But First… -- Opening Sequences -- Initiation of the Action -- Tell Me What Happened Here? -- Sonic Space -- The Ship -- Medlab -- Sanctified Space -- Genre, Medium, and Sonic Space -- Notes -- References -- Chapter 16: Sound, Music and Memory in Jia Zhangke's 'Hometown Trilogy' -- Revolutionary Sounds -- 'A New Mode of Listening' -- Acoustic Space and Power -- References -- Chapter 17: Vinyl Noise and Narrative in CD-Era Indiewood -- Squeezing Out the Vinyl: The Royal Tenenbaums -- Vinyl and the CD: Fantasies of Co-Existence in Pulp Fiction -- Surface Noise and Deep Characterization in Ghost World -- Conclusion: Vinyl Representation in Film in the Age of the Digital Download -- Note -- References -- Chapter 18: Interview 3: Mixing Punk Rock, Classical, and New Sounds in Film Music-An Interview with Brian Reitzell -- Part V: Breaking Conventions.

Chapter 19: From Analogue to Digital: Synthesizers and Discourses of Film Sound in the 1980s -- 'The Greatest Thing Since Sliced Voltage Control': Microprocessors, MIDI, and SMPTE Synchronization -- 'The Line is Now a Blur': The Sound Editor as Composer -- The Human Element: Luthier or Computer Programmer? -- Conclusion -- Notes -- References -- Chapter 20: Unlearning Film School: The 'lo-fi' Soundtracks of Joe Swanberg -- Introduction -- The Noise and Labour of 'lo-fi' -- 'The Point' or Merely 'What Happened': Improvised Performance and Sonic Contingency -- Post-production Sound Design: Genre and Sonic Authorship -- Conclusion -- References -- Chapter 21: The Janus Project: Cristobal Tapia de Veer's Utopia, Anempathetic Empathy and the Radicalization of Convention -- Before Utopia: Scoring The Crimson Petal and the White -- Utopia: Story, Production, Reception and Its Sound -- 'Janus Is Inside Me' -- Notes -- Part VI: The Sound of Machines and Non-Humans -- Chapter 23: The Sound of an Android's Soul: Music, MIDI and Muzak in Time Of Eve -- Anime and Film Music -- Music and Metaphor -- Cues and Cross-Talk -- Silence and Listening -- MIDI and Matrixes -- MIDI and Non-Space -- Muzak and Environment -- Notes -- Chapter 24: The Sounds in the Machine: Hirokazu Tanaka's Cybernetic Soundscape for Metroid -- The Sounds of Metroid (1986) -- Living Circuits, Cybernetic Sounds -- Conclusion: Samus' Wave -- Notes -- References -- Chapter 25: Redundancy and Information in Explanatory Voice-Ins and Voice-Offs -- Information and Repetition -- ADR and Infant Speech -- Waves of Redundancy -- Communication as Communication -- Dead Ahead -- References -- Chapter 26: Interview 5: Under the Skin of Film Sound-An Interview with Johnnie Burn -- Part VII: The Musicality of Soundtrack -- Chapter 27: Electroacoustic Composition and the British Documentary Tradition.

Electroacoustic Composition and Cinema -- The International Context of Early Film Sound Experimentation -- Song of Ceylon (1934) -- Snow (1963) -- Guinness For You (1971) -- Conclusion -- Notes -- References -- Chapter 28: Renegotiating the Overture: The Use of Sound and Music in the Opening Sequences of A Single Man and Shame -- Introduction -- Defining the Overture -- Shame and A Single Man: Overblown Overtures -- A Single Man: Dissolving Overture-Evolving Diegesis -- Shame: Audio-Visual Music -- Concluding Comments -- Notes -- References -- Chapter 29: Interview 6: Orchestration, Collaboration, and the Integrated Soundtrack-An Interview with Matt Dunkley -- Chapter 30: Musically Conceived Sound Design, Musicalization of Speech and the Breakdown of Film Soundtrack Hierarchy -- Breathe In: Musicalization of Soundtrack and 'Verbal Chiaroscuro' -- Spring Breakers: Repetition and Asynchronous Sound -- Upstream Color: Musically Conceived Soundtrack and Editing -- Conclusion -- Notes -- References -- Filmography -- Television and Radio -- Games -- Index.

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