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Theory of Image and Sound (updated 2/14/2013)
This bibliography is comprised of five sections: cinematic representation; visual theory; sound theory; music; theory and practice
(sound and image). Question on the exam will be drawn from all areas of the bibliography. Students will be expected to be
familiar with the starred texts and to develop an expertise in one or more areas of their choosing.

Cinematic Representation
Allen, Richard. Projecting Illusion: Film Spectatorship and the Impression of Reality. New York: Cambridge
University Press, 1995.
Andrew, Dudley. Concepts in Film Theory. Oxford: Oxford University Press, 1984.
*Arnheim, Rudolf. Film as Art (1933-57). Berkeley: University of California Press, 1957.
*Balazs, Bela. Theory of the Film: Character and Growth of a New Art (1945-48). Trans. Edith Bone. New
York: Dover Publications, 1970.
*Bazin, Andrew. What is Cinema? vol. I and II. Trans. Hugh Gray. Berkeley: University of California Press,
1967 & 1971.
Belton, John. Widescreen Cinema. Cambridge, MA: Harvard University Press, 1992.
Bordwell, David. Makign Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge,
MA: Harvard University Press, 1989.
Bordwell, David and Noel Carroll, eds. Post Theory. Madison: University of Wisconsin Press, Spring 1996.
Brecht, Bertolt. Brecht on Theater: The Development of an Aesthetic. Ed. and trans. John Willet. New
York: Hill & Wang, 1957.
*Browne, Nick, ed. Cahiers du Cinema 1969-72: The Politics of Representation. Cambridge, MA:
Harvard University Press, 1990.
*Carroll, Noel. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia
University Press, 1989.
* ____ . Philosophical Problems of Classical Film Theory. Princeton, NJ: Princeton University Press, 1988.
Casebier, Allan. Film and Phenomenology: Towards a Realist Theory of Cinematic Representation. New
York: Cambridge University Press, 1991.
Cavell, Stanley. The World Viewed. (Enlarged edition.) Cambridge, MA: Harvard University Press, 1979.

*Currie, Gregory. Image and Mind: Film Philosophy, and Cognitive Science. New York: Cambridge
University Press, 1995.
Doane, Mary Ann. The Desire to Desire: The Woman's Film of the 1940s. Bloomington: Indiana
University Press, 1987, 1-37.
Doane, Mary Ann. The Emergence of Cinematic Time. Cambridge, MA: Harvard University Press, 2002.
Deleuze, Gilles. Cinema 1: The Movement Image. Trans. Hugh Tomlinson and Barbara Habberjam.
Minneapolis: Univesity of Minnesota Press, 1988.
____. Cinema 2: The Time Image. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: University of
Minnesota Press, 1991.
Harvey, Sylvia. May '68 and Film Culture. London: BFI, 1978.
*Heath, Stephen. Questions of Cinema. Bloomington: Indiana University Press, 1981.
Jameson, Fredric. Signatures of the Visible. New York: Routledge, 1990.
Jarvie, Ian. Philosophy of the Film: Epistemology, Ontology, Aesthetics. New York: Routledge and Kegan
Paul, 1987.
Kittler, Friedrich. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999.
*Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. New York: Oxford University
Press, 1960.
Lauretis, Teresa de, and Heath, Stephen. The Cinematic Apparatus. New York: St. Martin' Press, 1981.
Lapsley, Robert, and Westlake, Michael. Film Theory: An Introduction. Manchester: Manchester
University Press, 1989.
*Lindsay, Vachel. The Art of the Moving Picture (1922). New York: Dover Publications, 1970.
Lovell, Terry. Pictures of Reality. London: BFI, 1980.
*Metz, Christian. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Annwyl
Williams, Ben Brewster and Alfred Guzzetti. Bloomington: Indiana University Press, 1983.
* ____. Film Language: A Semiotics of the Cinema. Trans. Michael Taylor. New York: Oxford U. Press, 1974.
____. Language and Cinema. Trans. Donna Jean Umiker-Sebeok. The Hague: Mouton, 1974.
*Mulvey, Laura. Visual and Other Pleasures. Bloomington & Indianapolis: Indiana University Press, 1989.
*Munsterberg, Hugo. The Film: A Psychological Study (1916). New York: Dover Publications, 1970.
Neale, Steve. Cinema and Technology: Image, Sound, Color. Bloomington: Indiana University Press, 1985.
*Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana
University Press, 1991.


Winston. Wide Angle 1:3 (1976). 1995. Narrative. Looks and Frictions: Essays in Cultural Studies and Film Theory. 1988.  3 ____. Williams. Trans. Perkins. Theorizing Documentary. 1992. Film as Film: understanding and Judging Movies.4. pp. Readings and Writings: Semiotic Counter Strategies. 1986. Jacqueline. Mast and Cohen. D. Realism and the Cinema. Bloomington: Indiana University Press. 1971. Wollen. Rose. New York: Routledge. 1980. ____ . . The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Theory. 1973. ARTICLES: Althusser. Sexuality in the Field of Vision. 1994. Claiming the Real: The Documentary Film Revisited. Ed. pp 189-207. ed. 1982.16 (winter 1935-6). Barr. 20-31. Apparatus. Michael. Hamondsworth: Penguin Books.. d ed. Kaja. Oxford: The Clarendon Press. Charles. 1972. Trans. New York: Viking Press. Critical Inquiry 1:1 (September 1974). Brian. Urbana: University of Illinois Press. New York: Routledge. *Branigan. 1981. ed. Emotion and the Cinema. Robert. Rudolf. London: Verso. New York: Monthly Review Press. Engaging Characters: Fiction. Thomas. n. Tudor. G. Ben Brewster. Ben Brewster. Lenin and Philosophy and Other Essays. Peter. Renier. Rodowick. ed. "Marxism and Humanism". *Rosen. Willemen. New York: Columbia University Press. New York: Oxford University Press. Ideology. 1986. 1993. The Subject of Semiotics. F. London: Verso. 1983. London: Routledge & Kegan Paul. ed. 1995. For Marx. pp 127-86. Arnheim. "CinemaScope: Before an After" (1963). 14-68. Trans. "Ideology and the Ideological State Apparatus". Stam. Reprinted in Film Theory and Criticism. Renov. New Vocabularies in Film Semiotics. "Remarks on the Colour Film". N. 160-2. 149-67. Robert Burgoyne and Sandy Flitterman-Lewis. Andrew. V. London: New Left Books. London: BFI. pp. Sight and Sound v. Theories of Film. ____ . 1977. Silverman. Ideology and the Image: Social Representation in the Cinema and in Other Media. "The Articulation of Color in a Filmic System". Paul. Murray. "On the Nature of Photography". Bloomington: Indiana University Press. Philip. Smith. Christopher. F. pp.

ed. Diana Matias. Jean.  *Baudry. pp. Brian. 138-61. "The Tutor-Code of Classical Cinema". Apparatus. 1-37. Nichols. 7-77. October 26 (Fall 1983): 63-115. pp. In Femmes Falates. Doane. 286-98. Narrative. ed. Screen 15:2 (1974): 103-28. Movies and Methods volume II. Apparatus. 1981. pp. "Seeing. Film Theory and Psychoanalysis. Ideology.51. Film Quarterly 20:1 (Fall 1966). ed. 314-24. Dayan. 421-43. Apparatus. 179-197. ed. "Women's Stake: Filming the Female Body". *Carroll. ed. Ray. ____ . in Narrative. 4 (Summer 1972). Henderson. Nichols. "Technique and Ideology: Camera. pp. * ____ . Perspective. ed. Narrative. 1991. "The Structure of Bazin's Thought". Rosen. Jerrold. The Desire to Desire: The Woman's Film of the 1940s. 1987. pp. William. Rosen. ____ . Films and Filmings 15. 165-77. 1981. 18-27. Johnson. pp. Nichols. at the Movies". 2-22. ed. Trans. Parts 1 and 2. Trans. Ideology. Philosophic Exchange 14 (1983). pp. Reprinted in Movies and Methods. Gregory. Ideology. "The Work of Christian Metz". Trans. "Le Pere Noel". "Coming to Terms with Color". Currie. Imaginarily. Nichols. Cinetracts 2:2 (1979): 32-48. ed. ____ . Heath. Jean Andrew and Betrand Augst. London: SEFT. Alan Williams. Levinson. Translation revised 1983. and Narboni. Depth of Field". ____ . in Narrative. pp. 2 (Nov 1968): 58-62. Screen Reader 2: Cinema & Semiotics. 5-45. pp 213-47. 40-57. "The Turn of the Subject". New York: Routledge. Ideology. Jean Louis. Phil Rosen. "Lessons from Brecht". Susan Bennett. "Address to the Heathen". Rosen. Jean-Louis. "The Long Take" (1971). 76-95. Diana Matias. Terms of Analysis". 438. Browne. Apparatus. "Film and System. in Movies and Methods volume II. "Cinema/Ideology/Criticism". Trans. pp. Bloomington: Indiana University Press. pp. 531-42. pp. Colin. MacCabe. Trans. ____ . ed. "Theory and Film: Principles of Realism and Pleasure". "The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema". "The Desire to Desire". ____ . Durgnat. pp. Ocotber 23 (Winter 1982): 82-163. ____ . Stephen. Parts 3 and 4. Screen 16:1 (1975). Philosophical Quarterly 43:170 (1993). In Femmes Fatales: Feminism. 4 . "Visual Fictions" Philosophical Quarterly 41(1991): 129-43. "From Real to Reel: Entangled in Nonfiction Film". in Cahiers du Cinema 1969-1972: the Politics of Representation.70-78. Film Quarterly 25 no. ____ . Screen 16:2 (1975): 81-113. 299-318. "Ideological Effects of the Basic Cinematic Apparatus". "Colors and Contrasts". Daniel. Noel. Movies and Methods vol I. *Comolli. "Remembering Women: Psychical and Historical Constructions in Film Theory". Mary Ann.

ed. ed. pp. Philip. Rouben. Gaylyn. Edwin. 1983. 64-74. ____ . Rosen. no. Kendall. Nichols. "Photography as a Representational Art". Snyder. Merleau-Ponty. Robert. Nichols. Sense and Non-sense. Movies and Methods. Critical Inquiry 11:2 (Dec 1984). pp. Nichols. Annette. "Cinema and Suture". . "The Absent Field of the Author". 796-808. Imagination and the Screen". Roger. Minnesota: Minnesota University Press. pp. 452-59. "Feminism. Panofsky. 68-79. Warburton. Quarterly Review of Film Studies 2:3 (1977). The Future of an Illusion: Film Feminism. Oudart Jean-Pierre. 243-63. Nigel. Walton. ____ . 1989. Godard". volume 2. Paul. "Bazin o Neo-Realism". Theories of Authorship: a Reader. Rothman. Constance. Trans. "Seeing Through 'Seeing Through Photographs' ". London: Routledge and Kegan Paul. Special Issue on Andre Bazin. Christopher. "Film and the New Psychology". pp. Vision and Representation". British Journal of Aesthetics 29:1 (winter 1989). "Screen and the Marxist Project in Film Criticism". Geoggrey. 61-8. Sharits. 2-29. "Photography. Michelson. Penley. ed. "Color and Light in Films". ed. and Psychoanalysis. 602-21. new series 1 (1988). "Against the System of the Suture". with a preface by Hubert L. Critical Inquiry 2:1 (autumn 1975). 549-56. Dreyfus and Patricia Allen Dreyfus. 261-270. New York: Mehuen. 35-47. Ratio.5   Mamoulian. 10 (1968). IL: Northwestern University Press. "Transparent Pictures: on the Nature of Photographic Realism". Nowell-Smith. The Aesthetic Understanding. pp. pp. Film Theory. Wicks. "Photography and Representation" and "Fantasy. "Style and Medium in the Motion Pictures" (1947). pp. by John Caughie. vol 2. and the Bachelor Machines". ed. 1964. "[Review of] What is Cinema?" Artforum 6. Joel and Neil Walsh Allen. Maurice. Film Culture 21 (Summer 1960). Movies and Methods. "Masochim and the Perverse Pleasure of the Cinema". Film Quarterly 19:4 (Summer 1966). no. William. Screen 14. Movies and Methods. pp. Critical Inquiry 12 (summer 1986). 246-77. 102-36. Evanston. "A Note on Story/Discourse". Williams. pp. pp. 143-69. Wide Angle 9:4 (1987). Blue. by Karl Hanet. pp. Scruton. 273-87. 57-80. pp. 1-9. Trans. Screen 18:4 (1977/78). 4 (winter 1973-74). pp. "Red. "Response to Edward Marin on 'Transparent Pictures' ". Reprinted in Film Theory and Criticism. Mast and Cohen. *Studlar. 1981.

*Berger. Guy.H. Seattle: Bay Press. 1973. Hammondsworth. Fried. Trans. Trans. 1991. rev ed. Debord. Camera Lucida. New York: Harper Collins. New York: Hill & Wang. Visual Theory: Painting and Interpretation. Rudolf. Society of the Spectacle. NJ: Princeton University Press. John. Gombrich. 1982. Monroe. London: Macmillan. Chicago: U. New York: Hill & Wang. of California Press. Brice. *Barthes. Simulations. ed. Aesthetics: Problems in the Philosophy of Criticism. Cambridge. 1986. 1984. Danto. Videospace and Image Experience. 1972. 1990. Donald Nicholson Smith. Image-Music-Text. 1981. Art and Illusion: A Stud in the Psychology of Pictorial Representation. Theory and Use of Color. Derrida. and Moxey. *____ . 1977. Keith. Stephen Heath. John Gilbert. ed. 1987. Michael. Berkeley: Univ. 1990. MA: MIT Press. E. Foster. The Anti-Aesthetic: Essays on Postmodern Culture. Princeton. Roland. Luigina. 1983. *Bryson. New York: Swerve Editions. Jean. Richard Howard. Jonathan. Baudrillard. 1980. Brace 1958. MA: Harvard University Press. 1981. Thinking Photography. Crary. San Francisco: National Center for Experiments in Television. Cambridge. 6 . Transfiguratin of the Commonplace. Burgin. Geoffry Benington and Ian Mcleod. New York: Abrams. Victor. Trans. Berkeley: University of California Press. Norman. Jacques. De Grandis. Hal. 1974. The Truth in Painting. UK: Penguin Books. New York: Harcourt. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. 1983. Michael Ann. Beardsley. Ways of Seeing. Howard. trans. Holly. of Chicago Press. Trans. ed. Arthur. Art and Visual Perception: A Psychology of the Creative Eye.  VISUAL THEORY (non film-specific) BOOKS: Arnheim. New York: Semiotexte. Absorption and Theatricality: Painting and Beholder in the Age of Diderot.

Baltimore: Johns Hopkin's Unviersity Press. New York: Norton. R. Jacques. Psychology of Imagination. 1972. Krauss. Christopher S. W. the Cultural Logic of Late Capitalism. Merleau-Ponty. Jean-Paul. New York: Blackwell. Michael. The Originality of the Avant-Garde and other Modernist Myths. ed. Modernity and the Hegemony of Vision. *Kracauer. 3rd ed. 1955. Clement. Erwin. *____ . Iconology: Image. 1989. 1987. London: Methuen. Eye and Brain: The Psychology of Seeing. New Haven: Yale University Press. Sartre. Berkeley: University of California Press. The Four Fundamental Concepts of Pyschoanalysis. 7 . Postmodernism. ____ . Trans. 1980. Mitchell. Meaning in the Visual Arts. M. 1985. Oxford: Clarendon Press. 1982. 1993. The Critical Historians of Art. Gregory. Oxford: Clarendon Press. Boston: Reidal. David.1972. Fredric.C. Boston: Beacon Press. 1993. 1978. Rosalind E.L. Chicaco: University of Chicago Press.J. Immanuel. Trans. John. The Language of Images.1962. ed. Kant. The Manifold in Perception: Theories of Art from Kant to Hildebrand. Chicago: University of Chicago Press. or. 1986. Phenomenology of Perception. Ideology. 1970. Wood. Levin. New York: McGraw-Hill. Maurice. Trans. Chicago: University of Chicago Press. Paintings. Cambridge. 1991. Indianopolis: Hacket Publishing. Durham: Duke U. Jameson. Pirenne. and Photography. Downcast Eyes: on the Denigration of Vision in Twentieth Century French Thought. New York: Zone Books. 1995. Optics. The Languages of Art: An Approach to the Theory of Symbols. Jay. ____ . Tex.H. Art. and Reality. The Mass Ornament: Weimar Essays. Thomas. Cambridge. Colin Smith. Meredith. Perspective as Symbolic Form. 1928. Trans. ed. ____ . Perception. Hyman. Podro. Picture Theory: Essays on Verbal and Visual Representation. Siegfried. Press. Alan Sheridan. 1989. Nelson. London: Cambridge University Press.  ____ . The Critique of Judgment. New York: Humanities Press. Lacan. Trans. Andrew. MA: Harvard University Press. Art and Culture. Martin. 1976. 1961. 1992. MA: MIT Press. Panofsky. Harrison. New York: Doubleday. The Imitation of Nature. 1972. Berkeley: University of California Press. Tom Levin. Greenberg. J. Philosophy and the Visual Arts. Goodman. 1986.

Mast Cohen. 17-87. Moxey. 233-7. Ira and Beryl Korot. 1989. 1977.Press. Margaret. Mimesis as Make-Believe: On the Foundations of the Representational Arts. Trans. The Aesthetic Understanding. M. Deeper Into Pictures: An Essay on Pictorial Representation. Sclafani. Harmondsworth: Pelican. 848-70. Reprinted in Aesthetics: A Critical Anthology. pp. and the Space-in-between". Cambridge: Cambridge U. Krauss. Painting as an Art. Rosalind E. Martin. 1990. 265-74. New Literary History. ed. George Dickie and R. 1974. 1932. London: Verso.J. Walter. ed. and Furlong. Walton. pp. 1977. London: Methuen. 1974. pp. ed. 1980. "Video: The Aesthetics of Narcissism: Video Culture: A Critical Investigation. Trans. the Image. pp. Heidegger. New York: Hold. A. 1976. Language and Thought. New York: Harper and Row. The Principles of Art History. Scruton. *____ . In Video Art: An Anthology. Art Journal 45:3 (fall 1985). Heinrich. Illuminating Video. "Tracking Video Art: 'Image Processing' as a Genre". Edmund Jephcott and Kingsley Shorter. NJ: Princeton University Press. New York: Aperture in association with Bay Area Video Coalition. Morse. David. Stephen. Kendall. by Doug Hall and Sally Jo Fifer. 153-167. "The Origin of the Work of Art". 1986. by Patrick Camiller. Hottinger. Film Theory and Criticism. London: NLB. 20-21. "Of the Standard of Taste". Trans. Albert Hofstadter. by Schneider. Paul.8   Scharf. Art and Photography. Richard. "Panofsky's Concept of 'Iconology' and the Problem of Interpretation in the History of Art". Roger. ed. New York: Cambridge University Press. Wollheim. ____ . MA: Harvard University Press. Poetry. 1987. 1991. Princeton. 1971. . Art and its Objects (2nd edition). ARTICLES: Beck. ____ . Benjamin. "Videographics: Reflections on the Art of Video". Shier. London: Methuen. Virilio. Art and Imagination. Cambridge. New York: St. pp.D. Martin's Press. 1979. In One Way Street and Other Writings. Trans. 1986. War and Cinema: The Logistics of Perception. Flint. "Video Installation Art: The Body. Wolfflin. Lucinda. Rochester: Visual Studies Workshop. Keith. "The Work of Art in the Age of Mechanical Reproduction". "A Short History of Photography". New York: Harcourt Brace Jovanovich. 17:2 (winter 1986). Hume.

Discourse v. n. 16 (1993).  Polyani. "Nonsense". “State of Sound Studies. 1 (1980) "Special Issue: 'On the Soundtrack'". 1990). 1992). 6. Public n. 14. 1990-1991). *"Special Issue on Sound". 1992). 9 . 53 (Toronto. Australia. P-Form n. "Sound". 3 (May/June 1984). Sobchak. "Sound". Semiotexte n. Musicworks n. "Didactic Video: Organizational Models of the Electronic Image: Afterimage 3:4 (October 1975). n. 60. 1 (Murdoch. Martha. The Drama Review (1996). "Radio-Sound". "Experimental Radio". "Radiotext(e)". n. 4 (Amsterdam. 1992). Michael. 2 (1992) Popular Culture (Block Four) and Popular Culture (Block Seven. pp. "John Cage". 31 (Sydney. Java n. Afterimage 17 (November 1989). SOUND THEORY (film and non-film) PERIODICALS/SPECIAL ISSUES: "L'Art Radio". n. 1993). Woody and Scott Nygren. 6. Screen v. "Performance". Vasulka. 225-236. "Toward a Phenomenology of Cinematic and Electronic Presence: the Scene of the Screen: Postscript 10:1 (fall 1990). "Radio-phonics". 7-11. Rosler. "Audio Art". Continuum v. 4/5 (Toronto. Art & Text n. pp. 1981. "Image Simulations: Computer Manipulations: Some Considerations". Mediamatic v. 33 (1994). 37 (Sydney. n. Musicworks n. 1994). 25. 10 (Paris.” Iris 27 (1999). "What is a Painting?" British Journal of Aesthetics 10 (1970). 1992). Art & Text n. London: The Open University Press. Yale French Studies v. Vivian. "Oor=Era". 52 (Toronto.

Sound and Transmission. ________ . by Claudia Gorbman. 1975. Essays in Sound. [No author cited. Douglas and Gregory Whitehead. CA: Wadsworth. Radio Rethink: Art. Kahn. ds. ed. Claudia. Shaun. 2007. Press. Mary Lea. 1989. 1987. Audio-Vision: Sound on Screen. Gorbman. ____ . MA: MIT Press. The Birth of the Talkies: From Edison to Jolson. Seductive Cinema: The Art of Silent Film. Darlinghurst. Belmond. New York: Columbia University Press. and the AvantGarde. New York: Knopf: Distributed by Random House. Middletown: Wesleyan University Press. Noel. Evan. 1994. Sound Theory and Practice. IN: Indiana University Press. The Recording Angel: Explorations in Phonography. Bloomington. Bloomington. 2003. by Claudia Gorbman. Bloomington: Indiana U. *Chion. Toronto: Guernica Editions. Augaitis.] Burch. Annemarie Jonson. The Dawn of Sound New York: The Museum of Modern Art. Eisenberg. 1994. Corbett. Durham: Duke University Press. Daina. Geduld. Book for the Unstable Media's-Hertogenbosch. New York: McGraw-Hill. Bandy. Bnaff: Walter Phillips Gallery. 1990. Michel. 1994. Cambridge. Caryl. New York: Columbia University Press. Davies. Funkenstein. Radio. and trans. Card. 1994. John. 1992. Princeton: Princeton University Press. ________. Rick. The Films of Jacques Tati. Stanley. . Audio in Media. To the Distant Observer: Form and Meaning in Japanese Cinema. *Altman. 1961. 1992. Eds. Silence. and Dan Lander. Australia: Contemporary Sound Arts. and trans. James. ed. 1998. Flinn. The Wireless Imagination: Sound. John.  10 BOOKS: Alten. Strains of Utopia. 1987. eds. Harry M. The Netherlands: V2 Organization. 1992. and Eddy Jokovich. Silent Film Sound. 1992. Voice in Cinema. Unheard Melodies: Narrative Film Music. Extended Play: Sounding Off from John Cage to Dr. 1992. New York: Routledge. Cage. IN: Indiana U Press.

Charles. Weiss. The Technique of the Sound Studio. Elisabeth and John Belton. Colin. Amy.S.  11 Katz. IN: Indiana University Press.] *Weis. 1985. Echo and Narcissus: Women's Voices in Classical Hollywood Cinema. Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. The Fiftieth Anniversary of Vitaphone. Jonathan. 1988. Manchel. Prendergast. 1962. London: Bloomsbury. Frank. Mark. Allen S. eds. 2007. Nisbett. Lawrence. Cambridge. Sound by Artists. Kaja. Thompson. Lastra. Capturing Sound: How Technology Has Changed Music. Sounds. Spadoni Robert. Durham and London: Duke University Press. Los Angeles. 1900-1933. Sarah. Berkeley and Los Angeles: The University of California Press. with Lauar Mulvey. 1990. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America. Middletown: Wesleyan University Press. MA and London: MIT Press. The Ambient Century: From Mahler to Moby – the Evolution of Sound in the Electronic Age. Breathless: Sound Recording. Emily. Kozloff. Invisible Storytellers. 2000. Bloomington. Bloomington. Politics. New York: Hastings House. Sound Technology and the American Cinema: Perception. Englewood Cliffs. [No author cited. 1991. NJ: Prentice Hall. New York: Columbia University Press. 2010. When the Movies Began to Speak. 1981. and the Transformation of Lyrical Nostalgia. eds. Godard: Images. The Acoustic Mirror : The Female Voice in Psychoanalysis and Cinema. ____________ . 1969. Kreuger. 1988. Amsterdam: Void Editions. Durham: Duke University Press. Mark. New York: The Institute of the American Musical. IN: Indiana University Press. Bloomington: Indiana University Press. O’Brien. Berkeley: University of California Press. 2002. Alex. 1995. Disembodiment. Cinema’s Conversion to Sound: Technology and Film Style in France and the U. *Silverman. 2002. Dan and Michal Lexier. Film Sound: Theory and Practice. Berkeley: The University of California Press. Berkeley. 2003. Sterne. 2003. Representation. 1976 Lander. Banff: Walter Phillips Gallery. London: University of California Press. Phantasmic Radio. . *McCabe. New York: Columbia University Press. 2004. 1987. James. Modernity. Sound Revisited. Miles. The Audible Past: Cultural Origins of Sound Reproduction.

Le million. Tino Balio. ed. ____ . Anthony. 2 (Winter 1987). n. Journal of Aesthetics and Art Criticism 47:4 (Fall 1989). Tino Balia. n. Yale French Studies v. Edward. n. Bakshy. 1930. "The Technique of the Talking Film". 1976. 4. Sound". "The Coming of the Talkies". History. 1990. and David Desser. Journal of Popular Film v. eds. *Belton. "A Year of Talkies". pp. 1992. 128 (June 26. "Ideology and the Practice of Sound Editing and Mixing". 40-53. The Cinematic Apparatus. 311-324. Narrative. Fischer. "The Human Voice and the Silent Cinema". Wide Angle v. pp. 26. 37-52. Ideology. 1 (Fall 1978). 2 (Spring 1977). *Bonitzer. Boston. 1986. 16. Black. 193-211. Cinema Journal v. Intercine (Rome. "India Song/Son nom de Venice dans Calcutta desert: The Compulsion to…" October n. "Writing the History of the American Film Industry-Warner Bros and Sound". *Branigan. 15-23. David Alan. ed. Douglas. 1980. Beck. "The Illusion of Sound and Picture". 185-211. n. Talking to Pictures: Essaying the Katsuben. Alexander. Joan. pp. 3 (1985). 62-73. Cinema Journal v. pp. London: MacMillan. . Saturday Review (November 28. "Glorious Technicolor. ed. "Technology as Commodity and Representation: Cinema Stereo in the Fifties". Philip Rosen. Screen v. Rudolf. Teresa de Lauretis and Stephen Heath. Madison: University of Wisconsin Press. "Economic Struggle and Hollywood Imperialism". Arnheim. The American Film Industry. 1935). Bloomington. Lucy. "The Silences of the Voice". 165-77. 7. *Doane. "Cinematic Realism and the Phonographic Analogy". 17. Pascal. 319-34. Noel. IN: Indiana University Press. Carrol. Philip. "Sound Commands". n. eds. Apparatus. Pabster. or. pp. pp.  12 ARTICLES: Anderson. Breathtaking Cinemascope. 14. Asquith. 34-50. 2 (1975). "Lang. Joseph. Copject. 1 (Spring 1976). Cass. Gomery. 17 (Summer 1981). 259-311. 1929). Cine-Tracts v. Mary Ann. Nation v. John L. 60. n. 80-93. *____ . MA: Unwin Hyman. Society of Motion Picture Engineers' Journal v. 1 (1980). Genre. pp. 39-50. and Stereophonic Sound" Hollywood in the Age of Television. Berg. pp. "Rene Clair. "Sound and Epistemology in Film". "Spoken Silents in the Japanese Cinema. Charles M. Jr. 2. Reframing Japanese Cinema: Authorship. New York: Columbia University Press. 1931). March 7. pp. and the Coming of Sound". Contextualizing the Texts". Arthur Nolletti. n. John.

Gas. Screen 25 (1984). Lewis. Len. London: BFI. "Hollywood's Tin Ear: An ABC of Sound". 15. Art and Text n. The Movies as Medium. 14. pp. 58-62. 3 (September 1937). 67-78. ed. 2 (August 1927). 64 (Spring 1993). 37 (September 1990). "Continuous Performance: Musical Accompaniment". 24-33. "Principia Schizophrenia: On Noise. Rogoff. n. ____ . 223-9. Framework 20 (1983). 24-39. Michel. 5 (September-October 1978) 3437. Whitehead. Clyde L. and the Broadcast Disembody". eds. pp. pp. 7. 6 (June 1929). Schreger. Dorothy M. Kawin. Mick Eaton. *Yampolski. "A Better Parasite". Anthropology-Reality-Cinema. "Track Organology". pp. 38 (1985). Douglas. Close Up v. ____ . 1979. The Motion Picture in its Economic and Social Aspects. McLaren. n. Tichenor. 243-60. Strauss and Giroux. n. "Sound". pp. Levin. Wide Angle v. ed. n. 6-8. 58-68. 1 (Fall 1981). A. Lye. 57-78. New York: Farrar.  Hamand. Close Up v. "Edison's Dream: A Brief History of the Kinetaphone". "The Film Gone Male". "Hollywood Babel". 1. pp. Marie. Radio and Television v. William "The Liberation of Echo: A New Hearing for Film Sound". *Vincedendau. Shearer. 58-62. Bruce and Virgil Grillo. "Direct". n. 2 (spring 1988). pp. pp. 6. "Berlin Stands on Its Head". October n. "Notes on Animated Sound". Charles "The Second Coming of Sound" Film Comment v. "Sound and Image: Aesthetic Issues Bound Up with the Technology of Sound". The Quarterly of Film. "Voice and Color". Philadelphia: American Academy of Political and Social Science. Ginette. Rosalind. Reisenfeld. October n. Screen v. 2 (Spring 1976). 31 (1989). 55 (1990). Post Script v. Tom. pp. pp. Jacobs. MUSIC 13 . 2 (1984). 1970. 35-39. Annals. pp. Life and Letters Today (Spring 1936). Hugo. and the Structure of the Brain". Film Quarterly. pp. n. "Reading at the Movies: Subtitles. Carol. Art and Text n. Mikhail. Kraszna-Kras. Gregory. Silence. Norman. 62-62. 73-80. 1926. *Johnston. 4. 3 (1953). Douglas. "Voice Devoured: Artaud and Borges on Dubbing". "The Acoustic Dimension: Notes on Cinema Sound". Cinema Arts 1. n. 1. 29. n. n. Kahn. Cinema Journalv. Richardson. "Music and the Motion Pictures". King and Frank A.

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 and so on?    6. 1997 ‐‐ of this  work. Do theories of sound in moving image media need to change when considering the home viewing  context? Are existing theories geared primarily to explain films shown theatrically. on computer screens.  You should refer to the use of sound in specific films.  portable video players. cellular telephones. these same silent films are usually presented  with live musical accompaniment. Rick Altman makes the radical suggestion that cinema is primarily a sonic art form. Evaluate Siegfried Kracauer’s theorization of the filmic image in his book Theory of Film: The  Redemption of Physical Reality. which.  How might the reception of these two forms of exhibition compare  to the original reception of silent‐era films? How might they affect the historiography of silent‐era film  generally?     5. Are there specific theories of film. Nearly all DVD re‐releases of pre‐1930 “silent” films are accompanied by newly‐recorded soundtracks. and how do they work? (If not. if you wish. What implications does this have for film theory?     4.  in relation to other theories of screen sound). or of cultural production generally.  When projected in contemporary theatrical screenings. why not?) Is a unified  theory of image and sound possible?     3. or do they work as  well for the home consumption of film and video? Which theories of sound best address twenty‐first  century means of viewing film and video ‐‐ at home.  . In the English‐language edition of his book Audio‐Vision: Sound on Screen (1994). Michel Chion  formulates the function of sound in film through the concept “added value” (page 5). (You may use any of the three editions ‐‐ 1960.)    2.21         PhD Comprehensive Exam    Theory of Image and Sound    Fall 2009  1. that can grasp both image and  sound as signifying elements of film? If so. and that its images  are subservient to the accompanying sounds.  Summarize his  use of this concept and evaluate the validity and usefulness of this formulation (including. 1965.