Edited by Philip Brophy Published by AFTRS Sydney    236pg book containing the complete proceedings from the 1999 CINESONIC International Conference on Film Scores & Sound Design     Part 1: Issues in Film Scores        Part 2: Transmissions from Beyond the Cinema    Part 3: Encodings of Orchestral Statement    Part 4: Constructs of Recorded Sound & Sound Design

Francois Musy in conversation   
RECORDING FOR GODARD   
 
Referenced films: Hail Mary, Passion, Prenom: Carmen, Soigne Ta Droite, King Lear.  

David Shea in conversation   
REINVENTING FILM SCORES  
 
Referenced films: A Better Tomorrow, Shock Corridor, Fellini's Satyricon, Tom & Jerry.  
 
 

Referenced films: Grand Hotel, Bedazzled, Rome Adventure, Love in the Afternoon, The Apartment, The Stepford Wives, There's Something About Mary.  

John Conomos 
SCENIC DARKNESS:  
Towards an Aesthetic of Jazz in Film Noir  
  
Referenced films: Laura, Force of Evil, Anatomy of a Murder, The Man With The Golden Arm, The Sweet Smell of Success.  
 
 

Evan Eisenberg  
THE WORLD HEARD: Music, Nature, Film  

Referenced films: Hail Mary, The Magic Flute, Ran, Flying Down To Rio, 2001 - A Space Odessy, Run Lola Run, Lucky People Centre International.  
 
 

Referenced films: House By The River, Scarlet Street.  

Francois Thomas  
ORSON WELLES' TURN FROM LIVE RECORDING TO POST-SYNCHRONIZATION:  
A Technical & Aesthetic Revolution 

Referenced films: Citizen Kane, The Lady From Shanghai, Othello, F For Faker.   

Philip Brophy  
HOW SOUND FLOATS ON LAND:  
The Suppression and Release of Folk & Indigenous Musics in the Cinematic Terrain 
  
Referenced films: Mix Me A Person, An Independent Life, Kwaidan, Black River.  

Introduction to the book  

The feverish inquiry into film sound and music continues. It induces delirium, hysteria, exhaustion: too many films; so many histories; a daunting yet exciting expanse of ground to be covered. The fact remains that trends, directions, formations and even epochs are occurring in the cinema with unnerving momentum, yet possibly never before has there been such a lack of concurrency in the writing of film. Ultimately, these are exciting times whose critical silence may give rise to a new critical voice for that stuffed animal in the glass cabinet, Film Theory.  

What better way to listen for new voices than to cast one's ear toward the ceaseless and beautiful din of music which surrounds us? This collection of articles explores the phonographic fringes of musical vibrations on the film soundtrack and its diaspora beyond the theatre. Supermarket muzak, 'Indian' tom-toms, hypertensive R'n'B, radicalized folk, noir jazz, grand symphonies, Lang's acoustics and Welles' vocals &emdash; each are examined and revealed in a cinematic light. 'Music' is possibly too rich and potent a term to employ when discussing the film score and its capacity to bleed beyond itself, for music on the film soundtrack becomes something else &emdash; part phonological apparition, part acoustical sensation, part harmonic . "The sound of music" is a suitably erotic phrase which suggests the way music can be more than its language and content, and the 'aura' of music created by its presence of the film soundtrack is to be credited for the complexity we term 'sound-image fusion'.  

I hope the fibrous minutiae that kine the deep recesses of your ear canals are excited by the chorus of critical voices which speak and sing throughout these articles.  

© Philip Brophy 2000 

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