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TitleHearing Film - Anahid Kassabian
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Table of Contents
                            Book Cover
Title
Contents
Acknowledgments
Listening for Identifications A Prologue
How Film Music Works
How Music Works in Film
A Woman Scored
At the Twilight's Last Scoring
Opening Scores
Tracking Identifications An Epilogue
Appendices
Works Cited
Videos Cited
Notes
Index
                        
Document Text Contents
Page 2

Hearing Film

Page 100

the relationship between unconscious and conscious processes is
necessary. The kinds of meanings perceivers produce in relation
to Dirty Dancing, for instance, depend heavily on age and class, both
generally and particularly in relation to the soundtrack.
Perceivers of Desert Hearts cannot all understand Cay and Vivian’s
relationship similarly, because they cannot hear the music with
the same histories.

Music works this way in film. It crosses over the boundaries
between unconscious and conscious processes; it contradicts or
shifts what seem like heavy-handed meanings in the visuals. (At
least, it can do these things; in the next chapter, I will argue that
it can also serve as a guarantor of meaning.) A Marxist psychoan-
alytic model of music perception and audiences can account for
relationships among conscious and unconscious pleasures, among
differences in consumption and reading practices, and among
soundtracks as they address different audiences simultaneously.

As I will argue in the next chapter, not all films encourage the
diversity of subject positions that these films do, but looking only
at tightly controlled dominant texts can produce disturbingly
monolithic theoretical models. The theory of music perception I
proposed in this chapter attempts to explain both the similarities
and the differences in the Tagg and Clarida study, to account for
dominant ideologies as they are expressed in music and for sound-
tracks that are organized differently, and to leave room for per-
ceivers who do not lose their histories at the theater door.
Alongside these films with their dispersed identification processes,
however, 1980s Hollywood also produced what we might call
“hyperclassical” films such as the Star Wars and Indiana Jones
series. These films returned to the tightest musical meaning
system available just at the moment when mass culture seemed
to be opening up to those it had historically excluded. It is to this
phenomenon that I turn in the next chapter.

A Woman Scored 89

Page 199

semiotics, 11, 24–27, 36, 39, 60, 71,
84, 109–110, 149

Seth, Roshan, 124

Sexton, Charlie, 82

sexual difference, 64, 67, 86,
111–12, 118

sexuality, 4, 7, 11, 12, 36, 71, 73, 76,
78, 94, 96, 111, 113, 118, 147;
female, 85; lesbian, 73, 76;
masculine, 102

Shumway, David, 43, 49, 78

signifiers, 41–42, 67, 110

Silverman, Kaja, 87

Sista, 120

Skinner, Frank: Underscore, 25

Smith, Anna Deveare, 147

Smith, Jeff, 4, 37, 50, 52

sneaking, 95

Sobchack, 106

social context, 85–86

social relations, 27, 37

soundtracks, 3, 4, 53–55, 61, 73, 80,
82, 85, 88, 117, 122, 136, 148;
pop, 61, 69–70, 80, 83, 85, 88;
sole-, 59–60

spectators, 63, 67–68, 111, 118,
173n. 1; female, 63, 117

spectatorship, 62–64, 67, 117

Stand and Deliver, 120, 144

Star Trek: Deep Space Nine, 59

Star Wars, 44–45, 47, 51, 89, 92;
music score for, 48

Steetcar Named Desire, A, 19

Sting, The, 76

Stockfelt, Ola, 22, 30

Stravinsky, Igor, 15–16, 27, 94

subjectivity, 59, 65, 67–68, 86,
103, 106, 111–13, 124–25, 129,
143

subjects, 62, 118

Sublime, 3

Subsitute, The, 13, 119, 120, 121, 123,
138, 142, 155

suture, 63

Sweat, Keith, 134

T

Tagg, Phillip, 24, 32, 125, 175n. 5

Tagg, Phillip, and Robert Clarida,
18–20, 23, 30, 89, 149–51, 175n. 9

Temptations, The, 82

text-threads, 122–23

texts, 14, 65, 86, 89, 118

textual analysis, 43

textuality, 12, 49

Thelma and Louise, 4, 72, 79, 82–83,
108, 110, 114, 117, 143, 155;
musical score for, 83

Thompson, Emma, 45

To Sir With Love, 120

Tomei, Marisa, 123

Tomorrow Never Dies, 53

Tre Black, 120, 121

Tru, 120

V

van Leeuwen, Theo, 28–29

Vartabed, Gomidas, 93–94

188 Index

Page 200

Verdi, 94

Verfremdungseffekt, 59

W

Wagner, Richard, 50

Waiting to Exhale, 4

Walser, Rob, 179n. 3

Washington, Denzel, 123–25

Whitley, Chris, 84

Williams, John, 3, 47, 51, 92,
104

Williams, Robin, 86

Willis, Sharon, 8, 178nn. 2, 179n.
5; High Contrast, 86

Winkler, Peter, 21

Woman Under the Influence, A, 50

women, 4, 30, 33–36, 61–90, 103;

and romance, 35–36; of color,

123

Wynette, Tammy, 81, 82, 178n. 7.

Y

Young Sherlock Holmes, 51

Z

Zawinul, Josef, 100

Zimmer, Hans, 3

Index 189

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