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Biancorosso challenges a long-standing assumption: that music in classical narrative film is necessarily inaudible, or at least inconspicuous. While this supposition has been questioned over the years, Biancorosso goes much further and details music's vital agency, examining its manifold importance for the characters onscreen as well as for spectators in the theater. Even more crucially, he claims that music's very listening-necessity helps make film an ethical instrument. In short, Biancorosso boldly turns the tables and uses music to interrogate film; and after this formidable and stylish book, anyone who doesn't emphasize the 'musicality' of movies does so at their own peril. This is a necessary read, anchored in a virtuoso command of the film repertory and an authoritative grasp of attendant issues, and a deeply pleasurable one. --Arved Ashby, Professor, Ohio State University School of Music, and editor of Popular Music and the New Auteur: Visionary Filmmakers after MTV Biancorosso's approach to analyzing film music is strikingly original. In a series of close readings of often classic films, he deftly weaves together musicology, the physiology and psychology of perception, philosophy, and art history in examining representations of auditory attention, or rather inattentiveness, in cinema, and how they shape the viewer's response. His book has made me see (and hear) the relation between image and sound in a new way, and I cannot recommend it highly enough. --Malcolm Turvey, Sol Gittleman Professor of Film and Media Studies, Tufts University Biancorosso is at once a polymath and a fine close reader. His analyses brilliantly nuance our understanding of the ways in which movie audiences and characters do (or do not) attend to film music. --Elizabeth Weis, author of The Silent Scream: Alfred Hitchcock's Sound Track Biancorosso challenges a long-standing assumption: that music in classical narrative film is necessarily inaudible, or at least inconspicuous. While this supposition has been questioned over the years, Biancorosso goes much further and details music's vital agency, examining its manifold importance for the characters onscreen as well as for spectators in the theater. Even more crucially, he claims that music's very listening-necessity helps make film an ethical instrument. In short, Biancorosso boldly turns the tables and uses music to interrogate film; and after this formidable and stylish book, anyone who doesn't emphasize the 'musicality' of movies does so at their own peril. This is a necessary read, anchored in a virtuoso command of the film repertory and an authoritative grasp of attendant issues, and a deeply pleasurable one. --Arved Ashby, Professor, Ohio State University School of Music, and editor of Popular Music and the New Auteur: Visionary Filmmakers after MTV Biancorosso's approach to analyzing film music is strikingly original. In a series of close readings of often classic films, he deftly weaves together musicology, the physiology and psychology of perception, philosophy, and art history in examining representations of auditory attention, or rather inattentiveness, in cinema, and how they shape the viewer's response. His book has made me see (and hear) the relation between image and sound in a new way, and I cannot recommend it highly enough. --Malcolm Turvey, Sol Gittleman Professor of Film and Media Studies, Tufts University Biancorosso is at once a polymath and a fine close reader. His analyses brilliantly nuance our understanding of the ways in which movie audiences and characters do (or do not) attend to film music. --Elizabeth Weis, author of The Silent Scream: Alfred Hitchcock's Sound Track

Biancorosso challenges a long-standing assumption: that music in classical narrative film is necessarily inaudible, or at least inconspicuous. While this supposition has been questioned over the years, Biancorosso goes much further and details music's vital agency, examining its manifold importance for the characters onscreen as well as for spectators in the theater. Even more crucially, he claims that music's very listening-necessity helps make film an ethical instrument. In short, Biancorosso boldly turns the tables and uses music to interrogate film; and after this formidable and stylish book, anyone who doesn't emphasize the 'musicality' of movies does so at their own peril. This is a necessary read, anchored in a virtuoso command of the film repertory and an authoritative grasp of attendant issues, and a deeply pleasurable one. --Arved Ashby, Professor, Ohio State University School of Music, and editor of Popular Music and the New Auteur: Visionary Filmmakers after MTV Biancorosso's approach to analyzing film music is strikingly original. In a series of close readings of often classic films, he deftly weaves together musicology, the physiology and psychology of perception, philosophy, and art history in examining representations of auditory attention, or rather inattentiveness, in cinema, and how they shape the viewer's response. His book has made me see (and hear) the relation between image and sound in a new way, and I cannot recommend it highly enough. --Malcolm Turvey, Sol Gittleman Professor of Film and Media Studies, Tufts University Biancorosso is at once a polymath and a fine close reader. His analyses brilliantly nuance our understanding of the ways in which movie audiences and characters do (or do not) attend to film music. --Elizabeth Weis, author of The Silent Scream: Alfred Hitchcock's Sound Track

Biancorosso challenges a long-standing assumption: that music in classical narrative film is necessarily inaudible, or at least inconspicuous. While this supposition has been questioned over the years, Biancorosso goes much further and details music's vital agency, examining its manifold importance for the characters onscreen as well as for spectators in the theater. Even more crucially, he claims that music's very listening-necessity helps make film an ethical instrument. In short, Biancorosso boldly turns the tables and uses music to interrogate film; and after this formidable and stylish book, anyone who doesn't emphasize the 'musicality' of movies does so at their own peril. This is a necessary read, anchored in a virtuoso command of the film repertory and an authoritative grasp of attendant issues, and a deeply pleasurable one. --Arved Ashby, Professor, Ohio State University School of Music, and editor of <em>Popular Music and the New Auteur: Visionary Filmmakers after MTV</em> Biancorosso's approach to analyzing film music is strikingly original. In a series of close readings of often classic films, he deftly weaves together musicology, the physiology and psychology of perception, philosophy, and art history in examining representations of auditory attention, or rather inattentiveness, in cinema, and how they shape the viewer's response. His book has made me see (and hear) the relation between image and sound in a new way, and I cannot recommend it highly enough. --Malcolm Turvey, Sol Gittleman Professor of Film and Media Studies, Tufts University Biancorosso is at once a polymath and a fine close reader. His analyses brilliantly nuance our understanding of the ways in which movie audiences and characters do (or do not) attend to film music. --Elizabeth Weis, author of <em>The Silent Scream: Alfred Hitchcock's Sound Track</em>

Biancorosso challenges a long-standing assumption: that music in classical narrative film is necessarily inaudible, or at least inconspicuous. While this supposition has been questioned over the years, Biancorosso goes much further and details music's vital agency, examining its manifold importance for the characters onscreen as well as for spectators in the theater. Even more crucially, he claims that music's very listening-necessity helps make film an ethical instrument. In short, Biancorosso boldly turns the tables and uses music to interrogate film; and after this formidable and stylish book, anyone who doesn't emphasize the 'musicality' of movies does so at their own peril. This is a necessary read, anchored in a virtuoso command of the film repertory and an authoritative grasp of attendant issues, and a deeply pleasurable one. --Arved Ashby, Professor, Ohio State University School of Music, and editor of Popular Music and the New Auteur: Visionary Filmmakers after MTV Biancorosso's approach to analyzing film music is strikingly original. In a series of close readings of often classic films, he deftly weaves together musicology, the physiology and psychology of perception, philosophy, and art history in examining representations of auditory attention, or rather inattentiveness, in cinema, and how they shape the viewer's response. His book has made me see (and hear) the relation between image and sound in a new way, and I cannot recommend it highly enough. --Malcolm Turvey, Sol Gittleman Professor of Film and Media Studies, Tufts University Biancorosso is at once a polymath and a fine close reader. His analyses brilliantly nuance our understanding of the ways in which movie audiences and characters do (or do not) attend to film music. --Elizabeth Weis, author of The Silent Scream: Alfred Hitchcock's Sound Track

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Giorgio Biancorosso is Associate Professor of Music at the University of Hong Kong. His work on the history and theory of listening practices reflects a long-standing interest in musical aesthetics, film music, and the history of global cinema. Biancorosso is also active in Hong Kong as a programmer and curator.

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