Theories of the Classical Sound Film
Chapter 3 examines theories after the sound film had been codified. The characteristic forms of theory became the grammar and typology: the goal was to map the potential formal relations between image and sound. This chapter considers six theoretical models focusing on the treatment of music and the relationship of the soundtrack to narrative: Eisenstein’s concept of vertical montage and the modes of synchronization that he developed from the concept; Aaron Copland’s typology of functions for film music; Hanns Eisler and Theodor W. Adorno’s response to Eisenstein, their critique of Hollywood practice, and their list of “bad habits”; and the formal typologies offered by Raymond Spottiswoode, Siegfried Kracauer, and Roger Manvell and John Huntley, which all seek to map the conceptual space of the image–sound relationship in film.