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Through Susy’s Eyes

Sight, Sound, and Subjectivity in Mancini’s Wait Until Dark

Bibliographic Data

ID21789211
AuthorsDavid Cosper (corresponding author)
Year2023
Volume17
Issue2
Pages137-166
Publication date2023-12-27
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueMusic, Sound, and the Moving Image (JOURNAL)
Journal identifiersISSN: 1753-0768 • E-ISSN: 1753-0776
PublisherLiverpool University Press (PUBLISHER • GB)
DOI10.3828/msmi.2023.10
OpenAlexW4390266147
LanguageEN
References cited36

The centrepiece of this essay is a close reading of Henry Mancini’s score for the 1967 suspense film Wait Until Dark, starring Audrey Hepburn. Drawing on poststructuralist narrative theory, I explore the implications of a blind protagonist for received thinking about focalisation and propose a music-informed narrative reading of the film. Informed by feminist disability studies and the work of film critics including Steven Shaviro, Stan Link, Vivian Sobchack, Michel Chion, and others, I propose that, unlike other films with visually impaired protagonists, which affirm the stability of visual experience by presenting blindness as an epistemological prop for theorising sight, Wait Until Dark effects a decentring of vision in cinematic experience that challenges traditional associations between sight and selfhood. Based on musical and narrative analysis, I argue that Mancini’s score is significant to this process

Aesthetics · Art · Blindness · Close reading · Linguistics · Literature · Musical · Narrative · Psychoanalysis · Sight · Sociology · Visual arts · Cinema and Media Studies · Medicine · Music History and Culture · Philosophy · Psychology · Shakespeare, Adaptation, and Literary Criticism · Optometry

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Citation velocityhistorical
Highly citedNo

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