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Published online by Cambridge University Press: 20 January 2025
1 Jordan, Randolph, Acoustic Profiles: An Acoustic Ecology of the Cinema (Oxford: Oxford University Press, 2023)CrossRefGoogle Scholar.
2 See Kassabian, Anahid, Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity (Berkeley, CA: University of California Press, 2013)CrossRefGoogle Scholar; Kulezic-Wilson, , Sound Design is the New Score: Theory, Aesthetics, and Erotics of the Integrated Soundtrack (Oxford: Oxford University Press, 2019)Google Scholar; Danijela, Kulezic-Wilson and Greene, Liz, The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (Basingstoke: Palgrave, 2016)Google Scholar.
3 Chion, Michel, Audiovision, trans. Gorbman, Claudia (New York: Columbia University Press, 1994)Google Scholar.
4 See Chion, Audiovision; Kerins, Mark, Beyond Dolby: Cinema in the Digital Age (Bloomington, IN: Indiana University Press, 2010)Google Scholar; Doane, Mary Ann, ‘The Voice in the Cinema: The Articulation of Body and Space’, in Film Sound, ed. Weiss, Elisabeth and Belton, John (New York: Columbia University Press, 1985)Google Scholar.
5 Kerins, Beyond Dolby.
6 Kerins, Beyond Dolby, 97.
7 Bernie Krause contributed to the scores for New Hollywood films such as Rosemary's Baby (dir. Roman Polanski, 1968) and The Graduate (dir. Mike Nichols) with his musical partner Paul Beaver.