Enhanced descriptions from Syndetics:

Philip Brophy's bfi Screen Guide provides a soundmap to a hundred films that engage the ears. Covering titles as diverse as Car Wash and Apocalypse Now, Le Samourai and Stalker, Shaft and Citizen Kane each entry outlines the film's distinctive contribution to the hitherto underexplored world of sound in cinema. The author guides the reader through an alternative cinema canon of the 'ear' of sonically exciting and remarkablefilms from all across the world and their amazing diversity of purpose and effect.This guide shows how most critics completly underestimate the significance of sound and how it is caught between the two irrreconcilable forces of the 'sound track'and sound design. In his introduction and analysis (or more accurately 'hearing) of 100 films, the author compels the reader to 'listen not look' and to 'think with their ears'. 100 Film Scores and Sound Design is a provocative and absorbing guide to some of the most exciting uses of sound in popular and international cinema.

Table of contents provided by Syndetics

• Acknowledgments (p. ix)
• Introduction (p. 1)
• Akira, Katsuhiro Otomo, 1988 (p. 17)
• American Graffiti, George Lucas, 1973 (p. 20)
• Angel Dust (Enjeru dasuto), Sogo Ishii, 1995 (p. 22)
• Apocalypse Now, Francis Ford Coppola, 1979 (p. 24)
• Arashi ga oka (Onimaru), Yoshihige Yoshida, 1988 (p. 27)
• The Ballad of Narayama (Naramaya bushiko), Keisuke Kinoshita, 1958 (p. 29)
• Beneath the Valley of the Ultra-Vixens, Russ Meyer, 1979 (p. 32)
• The Birds, Alfred Hitchcock, 1963 (p. 34)
• Bitter Rice (Riso amaro), Giuseppi De Santis, 1950 (p. 36)
• Blade Runner, Ridley Scott, 1982 (p. 38)
• Blood Simple, Joel Coen, 1983 (p. 42)
• Blue, Derek Jarman, 1993 (p. 44)
• Blue Steel, Kathryn Bigelow, 1990 (p. 46)
• Boogie Nights, Paul Thomas Anderson, 1997 (p. 49)
• California Split, Robert Altman, 1974 (p. 51)
• Carnival of Souls, Herk Harvey, 1962 (p. 53)
• Car Wash, Michael Schultz, 1976 (p. 56)
• Cast Away, Robert Zemeckis, 2000 (p. 58)
• Citizen Kane, Orson Welles, 1941 (p. 60)
• A Clockwork Orange, Stanley Kubrick, 1971 (p. 63)
• Close Encounters of the Third Kind (Special Edition), Steven Spielberg, 1977 (p. 65)
• Colors, Dennis Hopper, 1987 (p. 67)
• The Colour of Paradise (Rang-e khoda), Majid Majidi, 1999 (p. 70)
• The Colour of Pomegranates (Sayat Nova), Sergei Paradjanov, 1969 (p. 72)
• Contact, Robert Zemeckis, 1997 (p. 76)
• The Convent (O Convento), Manoel De Oliveira, 1998 (p. 78)
• The Conversation, Francis Ford Coppola, 1974 (p. 80)
• Crash, David Cronenberg, 1996 (p. 83)
• Crazy, Heddy Honigmann, 1999 (p. 85)
• Days of Wine and Roses, Blake Edwards, 1962 (p. 87)
• Dead Man, Jim Jarmusch, 1995 (p. 90)
• Distant Thunder (Ashani Sanket), Satyajit Ray, 1973 (p. 92)
• Do the Right Thing, Spike Lee, 1989 (p. 94)
• Dr. Dolittle, Betty Thomas, 1998 (p. 97)
• Escape from New York, John Carpenter, 1981 (p. 99)
• The Exorcist, William Friedkin, 1971 (p. 101)
• Face/Off, John Woo, 1997 (p. 103)
• Fantasia--The Sorcerer's Apprentice, James Algar, 1940 (p. 106)
• Forbidden Planet, Fred Macleod Wilcox, 1954 (p. 108)
• Gate of Flesh (Nikutai no mon), Seijun Suzuki, 1968 (p. 110)
• Godzilla--King of Monsters (Kaiju o Gojira), Inoshiro Honda, 1954 (p. 113)
• Goodfellas, Martin Scorsese, 1990 (p. 115)
• Guided Muscle, Charles M. Jones, 1955 (p. 117)
• Gummo, Harmony Korine, 1997 (p. 119)
• Hail Mary (Je vous salue, Marie), Jean-Luc Godard, 1985 (p. 123)
• The Haunting, Jan De Bont, 1999 (p. 125)
• Heat, Michael Mann, 1995 (p. 128)
• Hour of the Wolf (Vargtimmen), Ingmar Bergman, 1968 (p. 130)
• House by the River, Fritz Lang, 1950 (p. 132)
• India Song, Marguerite Duras, 1975 (p. 135)
• The Innocents, Jack Clayton, 1961 (p. 138)
• The Insect Woman (Nippon konchuki), Shoei Imamura, 1963 (p. 140)
• I Spit on Your Grave (Day of the Woman), Mier Zarchi, 1978 (p. 142)
• I Stand Alone (Seul contra tous), Gaspar Noe, 1998 (p. 144)
• Kaidan (Kwaidan), Masaki Kobayashi, 1964 (p. 146)
• The Keep, Michael Mann, 1983 (p. 149)
• Koyaanisqatsi, Godfrey Reggio, 1982 (p. 151)
• Last Year at Marienbad (L'Annee derniere a Marienbad), Alain Resnais, 1959 (p. 153)
• Lost Highway, David Lynch, 1997 (p. 156)
• M, Fritz Lang, 1931 (p. 158)
• Magnolia, Paul Thomas Anderson, 1999 (p. 160)
• The Man Who Lies (L'Homme qui ment), Alain Robbe-Grillet, 1968 (p. 163)
• Metropolis, Fritz Lang, 1927 and 1983 (p. 165)
• Oedipus Rex (Edipo re), Pier Paolo Pasolini, 1967 (p. 167)
• Once Upon a Time in the West (C'era una volta il west), Sergio Leone, 1969 (p. 170)
• Patty Hearst, Paul Schrader, 1988 (p. 172)
• The Pawnbroker, Sidney Lumet, 1965 (p. 174)
• The Pittsburgh Trilogy, Stan Brakhage, 1972 (p. 177)
• Planet of the Apes, Franklin J. Schaffner, 1968 (p. 179)
• Playtime, Jacques Tati, 1967 (p. 181)
• Pride of the Marines, Delmer Daves, 1945 (p. 184)
• Psycho, Alfred Hitchcock, 1960 (p. 186)
• Punch-Drunk Love, Paul Thomas Anderson, 2002 (p. 188)
• Querelle, Rainer Werner Fassbinder, 1982 (p. 191)
• Resident Evil, Paul W. S. Anderson, 2002 (p. 193)
• Rosetta, Jean-Pierre Dardenne, Luc Dardenne, 1999 (p. 195)
• Rumble Fish, Francis Ford Coppola, 1983 (p. 197)
• The Samurai (Le Samourai), Jean-Pierre Melville, 1967 (p. 199)
• Satyricon, Federico Fellini, 1969 (p. 202)
• Scarface, Brian De Palma, 1983 (p. 204)
• Scorpio Rising, Kenneth Anger, 1968 (p. 206)
• Seduced and Abandoned (Sedotta e abbandonata), Pietro Germi, 1964 (p. 208)
• Shaft, Gordon Parks Jr, 1971 (p. 211)
• The Shining, Stanley Kubrick, 1980 (p. 213)
• Some Kind of Wonderful, Howard Deutch, 1987 (p. 215)
• The Spirit of the Beehive (El espiritu de la colmena), Victor Erice, 1973 (p. 218)
• Stalker, Andrei Tarkovsky, 1979 (p. 220)
• Stand By Me, Rob Reiner, 1986 (p. 222)
• The Straight Story, David Lynch, 1999 (p. 225)
• Suspiria, Dario Argento, 1977 (p. 227)
• Sympathy for the Devil (One Plus One), Jean-Luc Godard, 1968 (p. 229)
• Talk Radio, Oliver Stone, 1988 (p. 232)
• Taxi Driver, Martin Scorsese, 1976 (p. 234)
• Teenage Rebellion, Norman T. Herman, Richard Lester, 1967 (p. 236)
• Temptress Moon (Feng yue) Chen Kaige, 1996 (p. 238)
• Tron, Steve Lisberger, 1982 (p. 242)
• Vagabonde (Sans toit ni loi), Agnes Varda, 1985 (p. 244)
• Videodrome, David Cronenberg, 1983 (p. 246)
• Violated Angels (Okasareta hakui), Koji Wakamatsu, 1967 (p. 248)
• Way of the Dragon (Meng Long Guojiang), Bruce Lee, 1972 (p. 250)
• Index (p. 253)