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251 Notes Pref­ ace on Meth­ o­ dol­ ogy 1. On neo­ for­ mal­ ism, see David Bord­ well and Kris­ tin Thomp­ son, Film Art: An Intro­ duc­ tion, 9th ed. (New York: ­ McGraw-Hill, 2010); Kris­ tin Thomp­ son, ­ Eisenstein’s “Ivan the Ter­ rible”: A Neo­ for­ mal­ ist Anal­ y­ sis (Prince­ ton, NJ: Prince­ ton Uni­ ver­ sity Press, 1981); David Bord­ well, Nar­ ra­ tion in the Fic­ tion Film (Lon­ don: Rout­ ledge, 1988); Kris­ tin Thomp­ son, Break­ ing the Glass Armor: Neo­ for­ mal­ ist Film Anal­ y­ sis (Prince­ ton, NJ: Prince­ ton Uni­ ver­ sity Press, 1988). 2. Le­ o­ nard B. Meyer, Emo­ tion and Mean­ ing in Music (Chi­ cago: Uni­ ver­ sity of Chi­ cago Press, 1956); Le­ o­ nard B. Meyer, Style and Music: The­ ory, His­ tory, and Ideol­ ogy (Chi­ cago: Uni­ ver­ sity of Chi­ cago Press, 1989); John Slo­ boda, The Mu­ si­ cal Mind: The Cog­ ni­ tive Psychol­ ogy of Music, new ed. (New York: Ox­ ford Uni­ ver­ sity Press, 1999); Rob­ ert Jour­ dain, Music, the Brain, and Ec­ stasy: How Music Cap­ tures Our Imag­ i­ na­ tion (New York: Har­ per­ Col­ lins, 1997); An­ na­ bel Cohen, “Film Music: Per­ spec­ tives from Cog­ ni­ tive Psychol­ ogy,” in Music and Cin­ ema, ed. James Buh­ ler, Caryl Flinn, and David ­ Neumeyer (Mid­ dle­ town, CT: Wes­ leyan Uni­ ver­ sity Press, 2000), 360–77. See also the fol­ low­ ing ar­ ti­ cles col­ lected in Psycho­ musi­ col­ ogy 13 (Spring/Fall 1994): ­ William Forde Thomp­ son, Frank A. Russo, and Don Sin­ clair, “Ef­ fects of Under­ scor­ ing on the Per­ cep­ tion of Clo­ sure in ­ Filmed ­ Events”; Vale­ rie J. Bo­ li­ var, An­ na­ bel J. Cohen, and John C. Fen­ tress, “Se­ man­ tic and For­ mal Con­ gruency in Music and Mo­ tion Pic­ tures: Ef­ fects on the Inter­ pre­ ta­ tion of Vis­ ual Ac­ tion”; Scott D. Lip­ scomb and Roger A. Ken­ dall, “Per­ cep­ tual Judg­ ment of the Re­ la­ tion­ ship ­ between Mu­ si­ cal and Vis­ ual Com­ po­ nents in Film”; ­ George Sir­ ius and Eric F. ­ Clarke, “The Per­ cep­ tion of Audio­ vis­ ual Re­ la­ tion­ ships: A Pre­ lim­ i­ nary Study”; ­ Shin-ichiro Iwa­ miya, “Inter­ ac­ tions ­ between Au­ di­ tory and Vis­ ual Pro­ cess­ ing when Lis­ ten­ ing to Music in an 252 • Notes to pages xxi–xxiii Audio Vis­ ual Con­ text: 1. Match­ ing 2. Audio Qual­ ity”; ­ William H. Rosar, “Film Music and Heinz ­ Werner’s The­ ory of Physiog­ nomic Per­ cep­ tion”; Clau­ dia Bul­ ler­ jahn and­ Markus ­ Güldering, “An Em­ pir­ i­ cal In­ ves­ ti­ ga­ tion of Ef­ fects of Film Music Using Qual­ ita­ tive Con­ tent Anal­ y­ sis.” 3. K. Thomp­ son, Break­ ing the Glass Armor, 10. 4. On cog­ ni­ ti­ vism and nar­ ra­ tive ­ frames, see David Bord­ well, “A Case for Cog­ ni­ ti­ v­ ism,” Iris 9 (Spring 1989): 23. 5. On the grat­ ifi­ ca­ tion ef­ fect given by the rec­ og­ ni­ tion of fa­ mil­ iar mel­ o­ dies, fol­ low­ ing the “law of re­ turn” of the Ges­ talt The­ ory, see Meyer, Emo­ tion and Mean­ ing in Music, 151–52, and the “pleas­ ure of rec­ og­ ni­ tion” in Meyer, Style and Music, 210n. 6. Fred Kar­ lin, Lis­ ten­ ing to Mo­ vies: The Film ­ Lover’s Guide to Film Music (Bel­ mont:­ Schirmer, 1994), 17–18. 7. “Miss Aus­ tria” was com­ posed by Korn­ gold in 1929 for his ar­ range­ ment of Leo­ Fall’s op­ er­ etta Rosen Aus Flor­ ida. 8. The terms ­ intra-diegetic, ­ extra-diegetic, and ­ meta-diegetic are drawn from Gér­ ard Gen­ ette, Fig­ ures III (Paris: Seuil, 1972). The ap­ pli­ ca­ tion of ­ Genette’s cat­ e­ go­ ries to film music is dis­ cussed in Clau­ dia Gorb­ man, Un­ heard Mel­ o­ dies: Nar­ ra­ tive Film Music (Lon­ don and Bloom­ ing­ ton: BFI/In­ di­ ana Uni­ ver­ sity Press, 1987), 20–26. Gorb­ man named the­ extra-diegetic level “non-diegetic level” and is cred­ ited for hav­ ing es­ tab­ lished the terms as ca­ non­ i­ cal tools of...


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