ABSTRACT
The social and industrial milieu for Moviesound Newsletter readers and contributors was effectively isolated from academics interested in film sound. Admittedly, none around the publication’s little group had encountered much theoretical scholarship about film sound. The presumption was that the field in which we made a living was of no interest to serious scholars at all; it was especially evident that popular film critics rarely ever mentioned sound in their writing. Those few scraps of reviewers’ work that even acknowledged the human sense of hearing, to the boundless irritation of our community, might mention a musical score, referring to it as “sound.” As a professor in Sound Design, the author reminds students that post-production craftspeople employ theories unconsciously in their praxis, but rarely if ever do they state them verbally.
