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Film sound : theory and practice

Author: Elisabeth Weis; John Belton
Publisher: New York : Columbia University Press, 1985.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
The only comprehensive book on film sound, this anthology makes available for the first time and in a single volume major essays by the most respected film historians, aestheticians, and theorists of the past sixty years. In addition, it provides useful models for the analysis of sound stylistics in the form of case studies of a number of the most important sound films ever made. It is a compact primer/handbook  Read more...
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Genre/Form: Aufsatzsammlung
Document Type: Book
All Authors / Contributors: Elisabeth Weis; John Belton
ISBN: 0231056362 9780231056366 0231056370 9780231056373
OCLC Number: 11398692
Credits: "Annotated bibliography on film sound (excluding music) / Claudia Gorbman": p[427]-445.
Description: xii, 462 pages ; 24 cm
Contents: Part I. History, Technology, and Aesthetics : Introduction The Coming of Sound: Technological Change in the American Film Industry, by Douglas Gomery --
Economic Struggle and Hollywood Imperialism: Europe Converts to Sound, by Douglas Gomery --
Film Style and Technology in the Thirties: Sound, by Barry Salt --
The Evolution of Sound Technology, by Rick Altman --
Ideology and the Practice of Sound Editing and Mixing, by Mary Ann Doane --
Technology and Aesthetics of Film Sound, by John Belton --
Part II: Theory Section 1. Classical Sound Theory: A Statement, by S.M. Eisenstein, V.I. Pudovkin, and G.V. Alexandrov --
Asynchronism as a Principle of Sound Film, by V.I. Pudovkin --
The Art of Sound, by René Clair --
Manifesto: Dialogue on Sound, by Basil Wright and B. Vivian Braun --
Sound in Films, by Alberto Cavalcanti --
A New Laocoön: Artistic Composites and the Talking Film, by Rudolph Arnheim --
Theory of Film: Sound, by Bela Balazs --
Dialogue and Sound, by Siegfried Kracauer --
Slow-Motion Sound, by Jean Epstein --
Section 2. Modern Sound Theory: Notes on Sound, by Robert Bresson --
Direct Sound: An Interview with, by Jean-Marie Straub and Danièle Huillet Aural --
Objects, by Christian Metz --
The Voice in the Cinema: The Articulation of Body and Space, by Mary Ann Doane. Part III: Practice. Section 1. Practice and Methodology: Fundamental Aesthetics of Sound in the Cinema, by David Bordwell and Kristin Thompson --
On the Structural Use of Sound, by Noël Burch --
Section 2. Pioneers: The Movies Learn to Talk : Ernst Lubitsch, René Clair, and RoubenMamoulian, by Arthur Knight --
American Sound Films, 1926-1930, by Ron Mottram --
Applause: The Visual and Acoustic Landscape, by Lucy Fischer --
Enthusiasm: From Kino-Eye to Radio Eye, by Lucy Fischer --
Lang and Pabst: Paradigms for Early Sound Practice, by Noël Carroll --
The Voice of Silence: Sound Style in John Stahl's Back Street, by Martin Rubin --
Section 3. Stylists: Orson Welle's Use of Sound, by Penny Mintz --
The Evolution of Hitchcock's Aural Style and Sound in The Birds, by Elisabeth Weis --
The Sound Track of The Rules of the Game, by Michael Litle --
Sound in Bresson's Mouchette, by Lindley Hanlon --
Godard's Use of Sound, by Alan Williams --
Section 4. Contemporary Innovators: Altman, Dolby, and the Second Sound Revolution, by Charles Schreger --
Sound Mixing and Apocalypse Now: An Interview with Walter Murch, by Frank Paine --
The Sound Designer, by Marc Mancini --
Sound and Silence in Narrative and Nonnarrative Cinema, by Fred Camper.
Responsibility: edited by Elisabeth Weis and John Belton.

Abstract:

The only comprehensive book on film sound, this anthology makes available for the first time and in a single volume major essays by the most respected film historians, aestheticians, and theorists of the past sixty years. In addition, it provides useful models for the analysis of sound stylistics in the form of case studies of a number of the most important sound films ever made. It is a compact primer/handbook which reviews in a coherent, rigorous, yet eminently accessible way the techniques and practices of sound filmmaking from initial recording to final playback in the theater. The book contains essays by Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S.M. Eisenstein, V.I. Pudovkin, Rene' Clair, Rudolf Arnheim, Bela Balazs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noël Burch, Arthur Knight, Lucy Fischer, Noël Carroll, Alan Williams, Fred Camper, and others. Essays deal in detail with such filmmakers as Lubitsch, Clair, Mamoulian, Vertov, Lang, Pabst, Stahl, Welles, Hitchcock, Renoir, Bresson, Godard, Altman, and Coppola.

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An extremely useful and wide-ranging collection of essays devoted to a topic often ignored or taken for granted by visually-dominated studies of the moving picture... -- Gerald Mast, University of Read more...

 
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<http:\/\/id.worldcat.org\/fast\/1126957<\/a>> # Sound--Recording and reproducing<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Sound--Recording and reproducing<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/id.worldcat.org\/fast\/1127008<\/a>> # Sound motion pictures<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Sound motion pictures<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/viaf.org\/viaf\/15016108<\/a>> # Elisabeth Weis<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1944<\/span>\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Weis<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Elisabeth<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Elisabeth Weis<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/viaf.org\/viaf\/36985036<\/a>> # John Belton<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Belton<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"John<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"John Belton<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/worldcat.org\/isbn\/9780231056366<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:ProductModel<\/a> ;\u00A0\u00A0\u00A0\nschema:isbn<\/a> \"0231056362<\/span>\" ;\u00A0\u00A0\u00A0\nschema:isbn<\/a> \"9780231056366<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/worldcat.org\/isbn\/9780231056373<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:ProductModel<\/a> ;\u00A0\u00A0\u00A0\nschema:isbn<\/a> \"0231056370<\/span>\" ;\u00A0\u00A0\u00A0\nschema:isbn<\/a> \"9780231056373<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.worldcat.org\/title\/-\/oclc\/11398692<\/a>>\u00A0\u00A0\u00A0\u00A0a \ngenont:InformationResource<\/a>, genont:ContentTypeGenericResource<\/a> ;\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/www.worldcat.org\/oclc\/11398692<\/a>> ; # Film sound : theory and practice<\/span>\n\u00A0\u00A0\u00A0\nschema:dateModified<\/a> \"2019-10-06<\/span>\" ;\u00A0\u00A0\u00A0\nvoid:inDataset<\/a> <http:\/\/purl.oclc.org\/dataset\/WorldCat<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.worldcat.org\/title\/-\/oclc\/11398692#PublicationEvent\/new_york_columbia_university_press_1985<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:PublicationEvent<\/a> ;\u00A0\u00A0\u00A0\nschema:location<\/a> <http:\/\/dbpedia.org\/resource\/New_York_City<\/a>> ; # New York<\/span>\n\u00A0\u00A0\u00A0\nschema:organizer<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/836687479#Agent\/columbia_university_press<\/a>> ; # Columbia University Press<\/span>\n\u00A0\u00A0\u00A0\nschema:startDate<\/a> \"1985<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

Content-negotiable representations<\/p>\n