Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience.James BuhlerandHannah Lewisedit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, & music's role in the integrated soundtrack.The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, & the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, & girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, & others. A last section on narrative & vococentrism moves from The Martian & horror film to the importance of background music & the state of the soundtrack at the end of vococentrism.Contributors:Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, & Robynn Stilwell°°°Brooke McCorkle Okazakiis an Assistant Professor of Music at Carleton College in Northfield, Minnesota, USA. She specializes in opera of the nineteenth & twentieth centuries, film music, & the music of modern Japan. In addition to numerous articles &Shonen Knife’s Happy Hour: Food, Gender, Rock and Roll(2020), McCorkle Okazaki is the co-author ofJapan’sGreen Monsters: Environmental Commentary in Kaiju Cinema(2018). In the 2019-2020 academic year, she received a Japan Foundation Fellowship to complete her monographSearching for Wagner in Japan.