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<p/><br></br><p><b> About the Book </b></p></br></br>"Static in the System analyzes the relationship between American aural cultural history and cinema. Focusing specifically on the field of cinema culture--the envelope that surrounds and conditions our experience of cinema as an art form--Meredith C. Ward discusses how the aural culture of a given time period has enabled certain types of listening cultures to form. Analyzing which forms of listening have been dominant in various periods, she also discusses how noise--that commonly used but little-understood term--helps us to make sense of the ongoing conflicts underlying these moments, and where we have, historically, set the limits of 'desirable' and 'undesirable' sound"--Provided by publisher.<p/><br></br><p><b> Book Synopsis </b></p></br></br>In this rich study of noise in American film-going culture, Meredith C. Ward shows how aurality can reveal important fissures in American motion picture history, enabling certain types of listening cultures to form across time. Connecting this history of noise in the cinema to a greater sonic culture, <i>Static in the System</i> shows how cinema sound was networked into a broader constellation of factors that affected social power, gender, sexuality, class, the built environment, and industry, and how these factors in turn came to fruition in cinema's soundscape. Focusing on theories of power as they manifest in noise, the history of noise in electro-acoustics with the coming of film sound, architectural acoustics as they were manipulated in cinema theaters, and the role of the urban environment in affecting mobile listening and the avoidance of noise, Ward analyzes the powerful relationship between aural cultural history and cinema's sound theory, proving that noise can become a powerful historiographic tool for the film historian.<p/><br></br><p><b> From the Back Cover </b></p></br></br>"By listening to noise, Meredith Ward deftly weaves a story about the history of American film sound that takes readers on a journey from a nineteenth-century Chicago symphony hall to the twenty-first-century streets of Baltimore in order to demonstrate the importance of the body in the construction of listening. Ward relies on extensive historical research to craft an argument that privileges space over text, audience agency over technological determination to show that sonic culture is a contested terrain that might not always align with the model envisioned by producers of these spaces and the films screened within them. <i>Static in the System </i>is an essential book for film historians and sound scholars."--Jennifer Fleeger, author of <i>Sounding American: Hollywood, Opera, and Jazz</i> <p/> "Ward offers a deep and compelling account of the importance of attempts to control 'noise' in its myriad forms to the history of American film."--James Lastra, author of <i>Sound Technology and the American Cinema: Perception, Representation, Modernity</i> <p/> "In <i>Static in the System</i>, Meredith Ward expands the sonic range of film history, mobilizing impressive and original research to show how discourses about noise have played a key role at pivotal historical moments, and lending a keen ear to cinema sound as it fades into architectural acoustics, the urban soundscape, sound art, and mobile audio."--Jacob Smith editor of <i>Anatomy of Sound: Norman Corwin and Media Authorship</i> <br><p/><br></br><p><b> Review Quotes </b></p></br></br><br>"<i>Static in the System</i> will provide many scholars in both Film Studies and Sound Studies fresh understandings for the many convergences between cinema culture and historical concepts of noise."-- "Historical Journal of Film, Radio and Television"<br><br>"Ward's book is one of the first in a generation to give us a new place to start when it comes to cinema sound - not by discarding the research of the past, but by resituating it in new conversations."-- "Journal of Sonic Studies"<br><p/><br></br><p><b> About the Author </b></p></br></br><b>Meredith C. Ward</b> is Director of the Film and Media Studies Program at Johns Hopkins University. She is also affiliated faculty for the Center for Advanced Media Studies at Johns Hopkins. She is the author of articles on sound and media for <i>Nineteenth Century Theatre and Film</i>; <i>Music, Sound, and the Moving Image</i>; and the upcoming <i>Oxford Handbook of Cinematic Listening</i> and the recipient of the 2016 Dissertation Award for outstanding contribution to the field of media studies from the Society for Cinema and Media Studies (SCMS).

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