This introduction establishes the book’s primary emphases: using theoretical frameworks that can deepen our understanding of why sound tracks resonate, challenging the hegemony of the visual, emphasizing the most heard and the less perceptible elements of film sound, considering how all aural elements work interdependently, assuming that all non-musical elements (sound effects, dialogue, and silences) are as carefully “orchestrated” as film scores, and demonstrating that there is still much more work to do in analyzing sound tracks, even when it comes to the best-known or most canonized films. All these emphases are established through a close reading of the first few minutes of Brokeback Mountain (2005). This introduction also situates this book in relation to other recent scholarship in the area, and establishes its focus on providing the reader with transferable skills of close analysis.
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