Jay Beck, Assistant Professor of Cinema and Media Studies, recently published a chapter in Sound: Dialogue, Music, and Effects, edited by Kathryn Kalinack and published by Rutgers University Press. Sound, the latest book in the press’ Behind the Silver Screen series, introduces key concepts, seminal moments, and pivotal figures in the development of cinematic sound. Each of the book’s six chapters covers a different era in the history of Hollywood, from silent films to the digital age. Professor Beck, along with award-winning Foley artist Vanessa Theme Ament, authored the chapter "The New Hollywood, 1981–1999,” which explores a period of neo-classicism brought on by the rapid acceptance of Dolby Stereo as a sound format after the sound experimentation in the Hollywood Renaissance of the 1960s and 70s. Although Dolby Stereo came with its own guidelines for post-production mixing, a new generation of filmmakers began to experiment with the creative potential of the system by cultivating new sound aesthetics in a number of films from the 1980s. Raging Bull, Blade Runner, Dune, Blue Velvet, The Mosquito Coast, and Indiana Jones and the Last Crusade each developed approaches that exploited the technical attributes of the sound system to envelop the audience in an ambient soundscape. The resultant aesthetics were connected directly to their stories to create a structural relationship between the films’ sound design and their narratives. In addition, the chapter explores the rise of the rock score in the 1980s and the synergy between the film, music, and music television industries around the newly-profitable compilation score albums and music videos. Lastly, the chapter demonstrates how new sound practices were introduced in the 1990s after the development of digital audio workstations and the increased dynamic and frequency ranges made possible with digital playback.