Enhanced descriptions from Syndetics:

This classic anthology provides essential models for analyzing sound stylistics through the detailed study of critical sound films. Elisabeth Weis and John Belton carefully curate major essays from the world's most respected film historians, aestheticians, and theorists, including Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, René Clair, Béla Belázs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noël Burch, and Arthur Knight. Their selections recount the innovations and triumphs of Ernst Lubitsch, Fritz Lang, Orson Welles, Alfred Hitchcock, Rouben Mamoulian, Dziga Vertov, Robert Bresson, Jean-Luc Godard, Robert Altman, and Francis Ford Coppola, among many others, and explicate the techniques and practices of sound filmmaking from initial recordings to final theater playback. Film Sound is the ideal companion for anyone seeking both a comprehensive introduction to the form and a rich survey of its historical and global evolution.

Table of contents provided by Syndetics

• Part 1 History, Technology, and Aesthetics
• Introduction
• The Coming of Sound: Technological Change in the American Film Industry
• Economic Struggle and Hollywood Imperialism: Europe Converts to Sound
• Film Style and Technology in the Thirties: Sound
• The Evolution of Sound Technology
• Ideology and the Practice of Sound Editing and Mixing
• Technology and Aesthetics of Film Sound
• Part II Theory
• Section 1 Classical Sound Theory A Statement
• Asynchronism as a Principle of Sound Film
• The Art of Sound
• Manifesto: Dialogue on Sound
• A New Laoco÷n: Artistic Composites and the Talking Film
• Theory of Film: Sound
• Dialogue and Sound
• Slow-Motion Sound
• Section 2 Modern Sound Theory Notes on Sound
• Direct Sound: An Interview with
• Aural Objects
• The Voice in the Cinema: The Articulation of Body and Space
• Part III Practice
• Section I Practice and Methodology Fundamental Aesthetics of Sound in the Cinema
• On the Structural Use of Sound
• Section 2 Pioneers The Movies Learn to Talk: Ernst Lubitsch
• American Sound Films, 1926-1930,
• Applause: The Visual and Acoustic Landscape
• Enthusiasm: From Kino-Eye to Radio Eye
• Lang and Pabst: Paradigms for Early Sound Practice
• The Voice of Silence: Sound Style in John Stahl's Back Street
• Section 3 Stylists Orson Welle's Use of Sound
• The Evolution of Hitchcock's Aural Style and Sound in The Birds
• The Sound Track of The Rules of the Game
• Sound in Bresson's Mouchette
• Godard's Use of Sound
• Section 4 Contemporary Innovators Altman, Dolby, and the Second Sound Revolution
• Sound Mixing and Apocalypse Now: An Interview with Walter Murch
• The Sound Designer
• Sound and Silence in Narrative and Nonnarrative Cinema