Acknowledgments

I would like to thank Marsha Kinder, Beverle Houston, Michael Renov, and Michael Cody for their input during the earliest stages of this work. Much of Chapters 3 and 4 on the film Rain was written with the advice and encouragement of Daniel Dayan, to whom I am very grateful. Dennis Doros of Kino International was most generous in allowing me access to Kino's reconstruction of Sadie Thompson . Bob Drake and Michael Hanitchak helped with frame enlargements. I also want to thank Ernest Callenbach, Rick Altman, and Al LaValley for their careful readings of the manuscript, bracing suggestions, and kind advice. Much of the value of this work is due to their patient encouragement.

Parts of this work have appeared in various forms in other publications. Sections of Chapter 4 were published in the USC Spectator as "Feminine Discourse in Blackmail ," 3, no. 2 (Fall 1983): 3–4, and "Sound and Feminism," 4, no. 1 (Fall 1984): 7–8, and I would like to thank the editors of the two issues, respectively, Gaylyn Studlar and Jon Wagner. "Sorry, Wrong Number: The Organizing Ear" was published in Film Quarterly 40, no. 2 (Winter 1986–87): 20–27; "The Pleasures of Echo" in the Journal of Film and Video 40, no. 4 (Fall 1988): 3–13; "Rain: Theorizing the Transitional Text" in the Quarterly Review of Film and Video 11, no. 4 (Spring 1990): 21–33. "Sound and Feminism in Notorious " was presented as a paper at the 1985 University Film and Video Association conference in Los Angeles, part of Chapter 1 was presented as "The Ideology of the Sound Reproduction Industry before the Twenties" at the 1987 Society for Cinema Studies conference in Montreal, and part of the work on Miss Sadie Thompson was presented at the 1988

UFVA/SCS conference at Bozeman, Montana, under the title "Sound/Spectacle/Silverman."

I would particularly like to thank Marsha Kinder for her unceasing support and encouragement, and the Critical Studies Department of USC's School of Cinema/Television.