Benjamin Wright

inema Studies Institute

Office: Room 317E, Innis College
Phone: 416-946-0970



Research and Teaching:

Benjamin Wright’s current research focuses on the history and critical study of production cultures, especially exploring the stylistic and technological effects of labor structures within the film and television industries. In particular, he is interested in studying the production culture of contemporary film and TV sound and music professionals such as Foley artists, mixers, editors, and composers. He is currently completing work on two book projects that explore these areas of industry practice.

In addition to teaching courses on film sound and music in the Cinema Studies Institute, Dr. Wright teaches CIN 105: Introduction to Film Study, CIN 374: American Cinema in the Studio Era, and seminars on James Bond, cult cinema, and contemporary screen comedy.

Dr. Wright also serves as the co-editor of The Soundtrack journal.



Ph.D. Carleton University (Cultural Studies)
M.A. Carleton University (Film Studies)
B.A. (H) University of Toronto


Select Publications:


“Footsteps with Character: The Art and Craft of Foley,” Screen 55.2 (Summer 2014): pp. 204-220.

“What do we Hear? The Pluralism of Sound Design in Hollywood Sound Production,” The New Soundtrack 3.2 (Fall 2014): pp. 137-157.

“Canada’s Great Shame: Tax Shelters, Nationalism, and Popular Taste,” Spectator (Fall 2012): pp. 20-28.

“‘Why would you do that, Larry?’: Identity Formation and Humor in Curb Your Enthusiasm,”
The Journal of Popular Culture, Vol. 44.3 (2011): pp. 660-677.



“Sound Designing in a Minor Key: David Fincher and Ren Klyce,” Transmedia Directors: Creative Voice Through Sound, Music, and Image. Eds. Carol Vernallis, Lisa Perrott, and Holly Rogers. New York: Bloomsbury Press, forthcoming 2019.

“The Auteur Renaissance, 1968-1980,” Behind the Silver Screen: Editing and Special Effects. Eds. Charlie Keil and Kristin Whissel. Rutgers University Press, 2016.

“Hans Zimmer and the New Sound of Hollywood.” The Routledge Reader on the Sociology of Music. Eds. John Shepherd and Kyle Devine. New York: Routledge, 2015.

“Atmos Now – Dolby Laboratories, Mixing Ideology, and Hollywood Sound Production,” Living Stereo: History, Culture, Multichannel Sound. Eds. Paul Théberge, Kyle Devine, and Thom Everett. New York: Bloomsbury Press, 2015.

“Mapping Film Audiences in Multicultural Canada: Examples from the Cybercartographic Atlas of Canadian Cinema,” co-written with Sébastien Caquard and Daniel Naud, Locating the Moving Image. Bloomington: Indiana University Press, 2013: pp. 130-149



“Woody Allen’s Jewish Identity Crisis,” in The Take2 Guide to Woody Allen, ed. John Pruzanski (Take2 Digital Publishing, 2014).

“Sculptural Dissonance: Hans Zimmer and the Composer as Engineer,” Sounding Out! (Sound Studies Blog, July 2014).

“Above the Cut: An Interview with Django Unchained Editor Fred Raskin,” The House Next Door, Slant Magazine. January 2013.

“Favorite Moments of Film Sound: The Wilhelm Scream,” in Offscreen “Sound in the Cinema and Beyond,” Volume 11, Issue 8 (2007).