Meredith C. Ward 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 Nineteenth Century Theatre and Film; Music, Sound, and the Moving Image; and the upcoming Oxford Handbook of Cinematic Listening 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).

"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."

• List of IllustrationsAcknowledgmentsIntroduction: Noise and the Concept ofthe Cinema Soundscape1. Songs of the Sonic Body: Noise and the Sounds ofEarly Motion Picture Audiences2. The Film Industry Lays the Golden Egg: Noise,Electro-Acoustics, and the Academy’s Adjustmentto Film Sound3. “Machines for Listening”: Cinema Auditoriums asVehicles for Aural Absorption4. Cinema Theaters as Antiquated as “Edison and HisWax Cylinders”: Mobile Technologies andthe Negotiation of Public NoiseConclusion: Noises We Will Be Hearing SoonAppendixNotesReferencesIndex

Meredith C. Ward 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 Nineteenth Century Theatre and Film; Music, Sound, and the Moving Image; and the upcoming Oxford Handbook of Cinematic Listening 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).

"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."

• List of IllustrationsAcknowledgmentsIntroduction: Noise and the Concept ofthe Cinema Soundscape1. Songs of the Sonic Body: Noise and the Sounds ofEarly Motion Picture Audiences2. The Film Industry Lays the Golden Egg: Noise,Electro-Acoustics, and the Academy’s Adjustmentto Film Sound3. “Machines for Listening”: Cinema Auditoriums asVehicles for Aural Absorption4. Cinema Theaters as Antiquated as “Edison and HisWax Cylinders”: Mobile Technologies andthe Negotiation of Public NoiseConclusion: Noises We Will Be Hearing SoonAppendixNotesReferencesIndex