Upturning senses: Sensational interactions at the meeting of cinema's music, sounds, images, and audience
Durrand, Mark E.
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Film musicology, since its de facto inception in 1987 with Claudia Gorbman's Unheard Melodies, has tended to focus upon the semiotic and narrative implications of music and sound in film. Recent challenges to the narrativistic and linguistic model of cinema's soundtrack direct attention more towards the sensual and affective (performative) roles played by music and sound in film. Following the latter trend, this dissertation pursues a model for film experience, and explores ways the audiences' sensorial apparatus interacts with cinema's audio-visual combinations.