This book examines how soundtracks signify characters subjective experiences in narrative fiction cinema. It uses Van Leeuwens sound semiotic techniques (what sound says) alongside other established film theorists to show how a language has evolved in cinema to signify the difference between reality and these altered states. It explores how sound and music are used to signify characters subjective experiences and investigates what makes these uses of sound apt signifiers for these states of mind. Following Van Leeuwens (1999), it adapts Hallidays (1978) conception of modality not only to...