Review| December 01 2021 Film, Music, Memory, by Berthold Hoeckner Film, Music, Memory, by BertholdHoeckner. Cinema and Modernity. Chicago: University of Chicago Press, 2019. viii, 278 pp. Julie Hubbert Julie Hubbert JULIE HUBBERT is the LaDare Robinson Memorial Professor of Music at the University of South Carolina where she holds appointments in both the School of Music and Film and Media Studies. Her current book project, supported by a National Endowment for the Humanities Fellowship, is entitled Technology, Labor, and Listening: Music in New Hollywood Film (1968–1980), and is under contract with Oxford University Press. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (3): 681–687. https://doi.org/10.1525/jams.2021.74.3.681 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Julie Hubbert; Film, Music, Memory, by Berthold Hoeckner. Journal of the American Musicological Society 1 December 2021; 74 (3): 681–687. doi: https://doi.org/10.1525/jams.2021.74.3.681 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search The idea of a “mind’s eye,” of externalizing internal thoughts and memories, has been a preoccupation of writers throughout literature. From Chaucer and Shakespeare to Philip K. Dick and Greg Daniels, who recently penned the 2019 hit Amazon series Upload, writers have long been interested in examining how and why the brain remembers. With the introduction of mechanical remembering devices—photographs, sound recordings, film, television, and streaming media—a parallel “culture of memory” has blossomed. Berthold Hoeckner’s book Film, Music, Memory considers the privileged place cinema has had in this culture. Because of its ability to see and hear, unconsciously record and be consciously edited, film has changed not only the way we dream, but also how we remember and visualize the working of the mind’s eye. Like most film music scholarship, Hoeckner’s study is fundamentally a restoration project. It works to counter film scholarship’s persistent visual bias by reminding critics... You do not currently have access to this content.