Abstract

The introduction begins by focusing on those presentations devoted to pedagogical practice at the Music and the Moving Image conference of 2011. (These presentations were the inspiration for creating this special issue.) Walker then summarizes her own pedagogical approach to teaching sound tracks by raising a series of questions with regard to a one minute music cue from Max Steiner’s score for The Searchers (1956). In the context of the long-standing visual bias within cinema studies, Walker argues that we can empower our students to help redefine the power of many films through analysis of their sound tracks.

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