This paper dissects the sound-effects codes of the Wuthering Heights film versions directed by Wyler, Bunuel, Fuest, Yoshida and Kosminsky in order to determine to what extent these film adaptors succeed in echoing thematically the novel's essential 'wuthering'. What such an analysis reveals is that, while Kosminsky 's soundtrack is more consistently analogous to Bronte's moorish soundscape in its recreation of such crucial aural motifs as canine baying, avian trilling and gusty wind, even the soundtracks devised by Wyer, Yoshida, Fuest and Bunuel have their enviable moments of undoubted Brontean significance.peer-reviewe
