Abstract

This article unpacks the production and impact of the Foley punch in David Fincher’s Fight Club (1999) to theorize the sonic transmission of affect in cinema. It advocates transduction as a model for a soundtrack analysis that acknowledges the already-mediated nature of aural subjectivity and allows for authenticity in electronically mediated experiences.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 98-120
Launched on MUSE
2014-07-20
Open Access
No
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