“The ear goes more toward the within, the eye toward the outer,” claims French filmmaker Robert Bresson, renowned for his sophisticated cinematic soundscapes. Though we commonly speak of seeing films, we less often talk about hearing them. Listening is something we do more than practice, and this Film Sound course helps us hear the movies by attuning our senses to cinema's fuller acoustic richness. Through listening to films and mapping sound patterns, exceptions, and exemplars, this class combines the history of film sound (as dialogue, voice, music, effects, and silence) with theories of how and why sound moves us and makes meanings, within films by prominent sound-focused filmmakers (such as Bresson, Jane Campion, the Coen brothers, Alfonso Cuarón, Michael Haneke, Spike Lee, Terrence Malick, Jordan Peele, Kelly Reichardt, Martin Scorsese) and examples from a variety of films such as M, Le Million, Modern Times, Singin' in the Rain, Playtime, Star Wars, Blue, The Royal Tenenbaums, The Lives of Others, Arrival, 45 Years, Portrait of a Lady on Fire, Passing, Drive My Car, Memoria, Zone of Interest. In addition to written assessments and experiential projects (e.g., sound walks), students will create projects that remix, transform, and expand film history.