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1
Nylen, Nick. „The Oxide Incident“. OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1492.
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My interest in sound-centric filmmaking and the literary genre of magical realism fostered the development of my thesis film, The Oxide Incident. The film is the story of Simon, a recent divorcee and sound archivist, who discovers a mysterious reel-to-reel-audio tape that he believes may help him heal his damaged relationship with Hannah, his teenage daughter. This paper examines the influence of magical realism on the film, some of its thematic, theoretical, and conceptual ideas such as its exploration of interpersonal communication and its implications in regard to gender, as well as some of its formal strategies. It concludes with a reflection on the process, a historical note, and a glimpse at my future trajectory as a filmmaker.
2
Dittrich, Elisabeth, und Rebecka Karlström. „Musik i Film : The Sound of Movies“. Thesis, University of Kalmar, Baltic Business School, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2444.
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The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in their movies, and also artists have been brought forward by starring in a soundtrack. What we find interesting, and what is also the discussion in this study, is in what ways this collaboration/artistic expression can be done and what impact it has on the parties involved. This study is made from a qualitative approach based on nine interviews with respondents working in the business of movies and film music, carefully chosen to answer and fulfill our purpose from various perspectives. All the interviews are presented in full length in the appendix, and serves as the base of our analysis. Since our study is made with a qualitative approach, is it not of our intention to generalize the results. Although, we do in the analysis recognize patterns which guide us to our conclusions about film music: the characters, functions and impacts of music in film, and how it generates identity and image. These conclusions are later brought together in our figure, presented in chapter six, through which we intend to clarify and further explain our conclusion.
3
Godsall, Jonathan. „Pre-existing music in fiction sound film“. Thesis, University of Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633201.
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A study of the use of pre-existing music in fiction sound film, this thesis fills a gap in the literature by studying pre-existing music as a category of music in film in itself, the premise being that there are conclusions to be drawn about the use of such music that relate to its pre-existing status, regardless of style, genre, and so on. The main questions are as follows: How and why is pre-existing music used in films? What effects can its use have for and on films and their audiences? And what lasting effects does appropriation have on the music? The exploration of these issues draws on concepts and frameworks from fields beyond that of the study of music in film, including literary theory and scholarship on musical borrowing defined more generally, and incorporates discussion of factors such as those of copyright and commerce alongside examination of texts and their effects. The thesis establishes a framework from which future work in the area can more efficiently proceed, and in relation to which previous work can be contextualised. Broadly, pre-existing music is shown to have unique attributes that can affect both how filmmakers construct their works (practically as well as artistically), and how audiences receive them, while film is argued to be a powerful influence in and on processes of musical reception. The thesis is a significant contribution to scholarship on music on film, but can also be seen as a study of the reception of music (both by and through film), and as situated within the fields of scholarship on musical borrowing and musical intertextuality.
4
Milano, Omar. „It's a Wonderful Business: The Art of Production Sound“. Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.
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It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sacrifices sound crews have endured to succeed in the always challenging, but very exciting, world of film making.
5
Wingler, Peter A. „The narrative force of sound“. Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337641.
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This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that using the principles of Schema Theory enables sound designers to maximize the narrative impact that sound design has over a broad audience.Department of Telecommunications
6
Rogoff, Jana. „Audiovisual (a)synchrony in early Soviet sound film“. Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2016. http://dx.doi.org/10.18452/17533.
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Die Dissertation ist eine medienhistorische Studie über die Einführung des Tons im sowjetischen Kino, die ästhetische und technologische Veränderungen in einem weiter gefassten politischen und kulturellen Kontext interpretiert. In historischen Untersuchungen des frühen Tonfilms der letzten zehn Jahre wurde der sowjetischen Methode des asynchronen Tons häufig die verbreitetere Methode der möglichst genauen Synchronisation gegenübergestellt, wie sie von der Filmindustrie in Hollywood in den späten 1920er und frühen 1930er Jahren entwickelt wurde. Die Arbeit geht über diese zum Standard gewordene Erzählung hinaus. In einer Reihe von Fallstudien wird die Arbeit sowjetischer Filmemacher, Drehbuchautoren, Filmtheoretiker und Toningenieure analysiert, um zu demonstrieren, dass in der Sowjetunion in der Frühphase des Filmtons sehr unterschiedliche Haltungen zum Ton existierten. Die Dissertation konzentriert sich sowohl auf die Theorien des Filmtons als auch auf die Praktiken, wobei es sich unter anderem auf Dziga Vertov, Nikolai Ekk, Michail Cechanovskij und Pavel Tager bezieht. Die Begriffe „Asynchronizität“ und „Synchronizität“ haben in den Debatten über die Einführung des Tonfilms in der Sowjetunion eine zentrale Rolle gespielt. Die vorliegende Dissertation bietet die erste grundlegende Untersuchung dieser Begriffe innerhalb des Kontextes der komplexen Ursprünge des frühen sowjetischen Tonfilms.The dissertation is a media-historical study of the emergence of sound in Soviet cinema, which links aesthetic and technological changes to the broader political and cultural context. Over the last decade, histories of early sound film have usually contrasted the Soviet method of asynchronous sound to the prevalent method of tight synchronization as it was popularized by the Hollywood film industry in the late 1920s and early 1930s. The dissertation looks beyond this standardized narrative. In a series of case studies, it analyzes the work of Soviet filmmakers, screenwriters, film theoreticians and acoustical engineers to demonstrate that many diverse approaches to sound were actually in play at the onset of film sound in the Soviet Union. The dissertation focuses on both film sound theory and practice mainly in the works of Dziga Vertov, Nikolai Ekk, Pavel Tager and Mikhail Tsekhanovsky. The terms “asynchronicity” and “synchronicity” were central in the debates about the emergence of sound film in the Soviet Union. This study provides the first thorough examination of these terms within the context of the complex origins of early Soviet sound cinema.
7
Schroer, Kerstin. „Film matters : historical and material considerations of colour, movement and sound in film“. Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q14q8/film-matters-historical-and-material-considerations-of-colour-movement-and-sound-in-film.
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The narratives presented in most film histories seem to ignore the essential material components of analogue film stock. Film matters focuses on material components of the film image – specifically colour, movement and sound – with the aim of telling a material history in a contemporary, ‘post-digital’ environment. The aim of this history is to show how film as a material has participated in the building of social and political realities that are still at work today. My practice-led research results in two videos on colour and a 16 mm film on movement and sound. In these works I practice alternative ways of history writing and telling that may not be written, but which leave their sediments in the materialities and projections of film. My research is embedded in a historical framework, but at the same time reflects upon the actuality of the political history of film. History and memory images are disassembled into their components in order to make visible that which the image does not show, but of which it is made. Setting out from this methodology, in Chapter 1 I research the representational and constitutional participation of these material components in film’s different temporalities. Through a close reading of several seminal films and moving image works I focus on the interplay between film, time and certain contexts of social and political structures, in order to understand how these are constructed along with material history. Chapter 2 explores movement, rhythm and physicality in the materiality of film. Setting out from the experimental set-up of the film Fugue (2015), the chapter analyses the relationship between physicality(of a body) and materiality (of the film) founded on movement. I claim that movement on film and movement of film produce involuntary side products, which become readable in film through dance-like movements and rhythms. I discover micromovements and habit-formation in both the movement of the film and the movement of the body and seek to read their political and transformative potential in situations in which they were joined, or when transitions from one to the other took place. In Chapter 3 I analyse the role of colour within film history and collective memory. Colour, as a chemical component of the film emulsion, has a temporal permanence, seeping into the grounds and bodies as chemicality, as toxic substance. Colour as a transtemporal figure is elaborated in the video Red, she said (2011), which focuses on Technicolor, looking at the colonising power of colour film by characterising the film emulsion as an autonomous actor within the rules and boundaries of cinematic space. The research into colour continues with Rainbow’s Gravity (2014) – a cinematic study of the production, use and employment of colour in the Nazi period and the politics of memory it entails. I found that in many historical cases colour can take on an active role in processes of memorisation. The thesis concludes in a reflection on the practice of working with a negative approach. In my search for forms of resistance within the moving image that interrupt constant reproductions of power and its representations, I detect the necessity of working with negativity in a processual way.
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Apprich, Franziska-Maria. „Film-sound as art : a study of sound in cinema presented in theory and practice“. Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.
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Slowik, Michael James. „Hollywood film music in the early sound era, 1926-1934“. Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.
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This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film music practices and paved the way for the heavily studied Golden Age of film music (1935-1950). In fact, a host of film scores preceded King Kong, scores which with rare exceptions have received no attention. Due to this inattention, scholars have mischaracterized the nature of late 1920s and early 1930s sound film, overlooked important and unusual early sound film music strategies and failed to offer any satisfactory account for the rise of the Golden Age of film music.
Based on screenings of hundreds of early sound films, I demonstrate that the early sound era featured a wide array of musical approaches rather than a single-minded avoidance of nondiegetic music. Drawing upon musical techniques from opera, melodrama, musicals, phonography, radio, and silent films, the early sound era featured an eclectic mix of accompaniment practices. Though early synchronized sound films largely adhered to a silent film music model, the advent of synchronized dialogue encouraged the use of several other conflicting musical accompaniment models. The late 1920s featured a substantial reduction in musical accompaniment, but the period still contained a diverse array of film score experiments rather than a total avoidance of nondiegetic music. By the early 1930s, a more consistent musical approach emerged, in which music was tied to unfamiliar settings or heightened internal mental states. This tactic exerted a considerable influence on King Kong's score and continued to be influential on musical accompaniment practices in the classical era.
The first chapter surveys a range of musical influences available to film music practitioners in the years leading up to the transition to sound. Chapter two then analyzes the film score in early synchronized films and part-talkies from 1926-1929, while chapter three examines the use of music in "100% talkies" from 1928-1931. After chapter four discusses the special case of the film score in the early musical from 1929-1932, chapter five examines the score for non-musicals from 1931 to just before the release of King Kong in April of 1933. In light of the plethora of pre-King Kong scores discussed in this study, chapter six offers a radical revision of King Kong's contribution to film music history. Finally, the Conclusion examines the early sound score's legacy in the Golden Age of film music.
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Petrikis, Titus. „Creating a sound world for Dracula (Browning, 1931)“. Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/21390/.
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The first use of recorded sound in a feature film was in Don Juan (Crosland 1926). From 1933 onwards, rich film scoring and Foley effects were common in many films. In this context, Dracula (Browning 1931)1 belongs to the transitional period between silent and sound films. Dracula’s original soundtrack consists of only a few sonic elements: dialogue and incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film; there is no underscoring. The reasons for the ‘emptiness’ of the soundtrack are partly technological, partly cultural. Browning’s film remains a significant filmic event, despite its noisy original soundtrack and the absence of music. In this study Dracula’s original dialogue has been revoiced, and the film has been scored with new sound design and music, becoming part of a larger, contextual composition. This creative practice-based research explores the potential convergence of film sound and music, and the potential for additional meaning to be created by a multi-channel composition outside the dramatic trajectory of Dracula. This research also offers an analysis of how a multi-channel composition may enhance or change the way an audience reads the film. The audiovisual composition is original, but it uses an existing feature film as an element of the new art piece. Browning’s Dracula gains a new interpretation due to the semantic meaning provided by associations with major cataclysmic events of the 20th century, namely the rise of two totalitarian powers in Europe. The new soundtrack includes samples from the original that are modified, synthesised and re-worked: elements of historical speeches; quotes from Stoker’s Dracula; references to the sounds of the time period (Nazi rallies, warfare, Soviet prosecution), and the original recordings of Transylvania (similar to the geographical location and season Stoker describes in Dracula). 1 Dracula (in italics) will refer to Browning’s film (1931) throughout this paper. The soundtrack composition also includes elements of a new, specially composed Requiem, which share the same sonic and musical expression tools: music language, varying sound pitch, time stretch, granular synthesising, and vocal techniques such as singing, speech, whispering, etc.).
11
Constantinou, Odysseas Symeon. „Sound-to-picture : the role of sound in the audio-visual semiosis of non-fiction film“. Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/54109/.
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12
Barnes, Randall. „Collaboration and integration : a method of advancing film sound based on the Coen brothers' use of sound and their mode of production“. Thesis, Bournemouth University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.512614.
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For the majority of cinema history, the film industry has treated sound as a less Integral ingredient In the filmmaking process. This has translated into working practices that have marginalised sound's contribution and have divided personnel. Joel and Ethan Coen's mode of production stands in contrast to a majority of those currently working in the film industry. They foreground sound's contribution by priming their scripts for sound, involving their sound personnel sooner and by encouraging close collaboration between those responsible for the soundtrack. The Coens' model serves as a way of highlighting sound's Importance and as way of generating more integrated soundtracks. As such, filmmakers should build upon their mode of production; a notion supported by other professionals and educational Institutions. By advocating this alternative way of working, future filmmakers can be encouraged to reassess sound's role in film construction.
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Süss, Gunter. „Sound subjects zur Rolle des Tons in Film und Computerspiel“. Trier Wiss. Verl. Trier, 2005. http://www.wvttrier.de.
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au, Collin Chua@uts edu, und Collin Chua. „Re-Sounding Images: Sound and Image in an Audiovisual Age“. Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080526.111205.
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This dissertation examines the evolving articulation of sound and image in
contemporary culture, with particular reference to film. It argues that sound and image
have undergone a historical machined separation, followed by a machined fusion or
recombination. The machined fusion of sound and image has enabled the creation of
soundful images, which are more than simply the sum of their parts. Through the infusion
of sound, images are now routinely reinforced with a performed sense of presence, where
they are made to sound more real, more powerful, more authentic. Through association
with the image, sounds are reinforced to the extent of becoming realer than real. By
tracing the history of sound and image from their initial machined separation to their
subsequent machined fusion, it will be argued that a new relationship has been created
that has shaped an influential new mode of communication and perception.
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Hodges, Peter. „Sound & vision : towards a definition of the dialogical interactions between image and sound effect in animated film“. Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/sound--vision-towards-a-definition-of-the-dialogical-interactions-between-image-and-sound-effect-in-animated-film(b4175cec-c2c9-4e9c-bb66-048a50b580ec).html.
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The introduction of synchronised sound to moving pictures brought the birth of a new form of entertainment, the sound film. As a contemporary moving image medium to the live action film, animated film also successfully adopted synchronised sound. The process of animation is, by its nature, inherently silent so any use of sound involves decisions away from the creation of the image. Thus, there are many opportunities for an inventive audiovisual dialogue to affect an animated film's narrative intention. The marriage of sound to image was initially thought to provide two opportunities of interpretation. The first, that the sound could simply match the expectations of everyday life by working in parallel with the visual action, supporting it in a realistic manner. The second suggested enhancing the narrative by providing sound information that acted in counterpoint to the displayed visual, thus providing a new, different interpretation of meaning to this audiovisual event. In film, a dialogue between sound and image can be created through applying a combination of parallel and counterpoint sound throughout a film's duration. However, after ninety years of the sound film, are there any alternative definitions of audiovisual meaning other than in parallel or counterpoint? To investigate this variation in the interpretation of meaning, this study defined a creative methodological framework that considered sound design choices and their relationship to meaning within animated film, and recognised the influences within animated film production on the sound design decisions made. These formed the hermeneutic categories of sound effect choice, and the physical and meta-influences that inform decisions regarding the chosen sound effects. This framework was developed and applied to case studies using an action research approach. The study concludes that a creative methodological framework for sound effect planning in animated film provides a useful understanding and application of the range of influences in animated film sound production. The research also illustrates that the framework's integral hermeneutic categories provide a valid expansion of the parallel- counterpoint position with regard to informing choice and meaning in sound effect planning. Finally, the study recognises that the framework presents a workable methodology to apply to the sound effect planning process in animated film.
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Orpen, Valerie Anne. „Splicing emotion : the expressive dimensions of editing in the sound film“. Thesis, University of Warwick, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340096.
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Schweitzer, Dennis Christopher. „Ton & Traum : A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film“. Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1108483481.
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Lantz, Fanny. „Exploring the impact of familiarity on the emotional response to acousmatic sound effects in horror film“. Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84249.
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Ever since the introduction of sound in film, sound effects have played a big part in the experience of the film audience. Acousmatic sound effects are diegetic sounds that lack a visual source on screen, and they are frequently used in horror films. This research explores the relationship between familiarity with sound effects and the emotional response in the audience. An experiment was conducted where two test groups watched an excerpt from a horror film where acousmatic sounds were a big part of the soundtrack. One of the test groups watched a version where there were reoccurring familiar acousmatic sounds, and the other group watched a version with random un-familiar acousmatic sounds. Data was collected through self-report and physiological measurements. The results suggest that there is a dissonance between the conscious and unconscious emotional experience of suspense and fear. The physiological measurements indicate a higher emotional arousal in the group that watched the unfamiliar version of the stimuli, while the self-report propose a stronger conscious build-up of suspense leading to a stronger experience of fear in the group watching the familiar version. Further research directions based on the result of this research are presented.
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Atterstig, Elin. „Att höra genre : Vad ljudet i filmens inledning berättar om genre“. Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9740.
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This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.
The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it doesn’t always work like this. The analysis also shows examples on movies where the sound in the beginning of the movie focus on other things, like describing place or ethnicity. In some of the movies, especially the ones that represent adventure and action, you can hear the genre very clearly. In others, for example the comedy, there is a bit harder to decide if the sound alone could tell us about which genre the movie belongs to, and if the sound is typical for that specific genre or if it could be about almost everything. Furthermore, in some movies it was quite clear that the sound concentrates on describing something else instead, for example the place where the story is set.
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Green, Dusin J. „The Synthesizer: Modernist and Technological Transformations in Film Sound and Contemporary Music“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/700.
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The invention of the synthesizer meant the possibility of achieving virtually any sound in one mechanism, a superbly convenient device for musical creativity. Perhaps the perfect space for this approval of sound creativity was in the modern electronic film score. The synthesizer also flourished in popular music immediately following its emergence, but a common form began to solidify itself among synthesizer music. Shortly after, improvements in electronic instrument technology led to the democratization of electronic music and equipment, ultimately leading to electronic music as the new mainstream.
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Muniz, Alexa S. „Our Sound Our Silence: Self Care in Student of Color Activism“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/783.
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Our Sound Our Silence is a performative documentary about student of color activists at Scripps College. This video project attempts to highlight the fatigue, emotional, mental, and physical exhaustion these students experience from having to work within the institution to advocate for their survival. This video project also attempts to speak to the importance of self-care for students of color and especially for those involved in activism and organizing on campus. I wanted to use the creation of this video as a means of self-care and process of healing for myself, my collaborators, and my community.
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Lewis, Hannah Rose. „Negotiating the Soundtrack: Music in Early Sound Film in the U.S. and France, 1926-1934“. Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11376.
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This dissertation examines music's role in cinema in the early years of synchronized sound film in the United States and France. Working against the historical and technological determinism that often plagues narratives of the transition to sound, I investigate the myriad ways in which directors, producers, and composers approached the new technology. Films acted as artistic manifestoes on the new technology and its aesthetic potential as filmmakers experimented with the musical soundtrack. Through multi-site archival research and close analyses of films and their music, I point to the heterogeneity of film music practices during synchronized sound's nascent years, considering early sound films as sites of aesthetic contestation and negotiation.Music
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Nozaic, Claire. „An introduction to audio post-production for film“. Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
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Thesis (M.Mus.)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.
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Pelling, Kate. „Select, reject, reconfigure : editing speech in artists' direct address to camera“. Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/10825/.
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This practice-based thesis offers a new approach to editing processes that take place during the recording and subsequent editing of an individual speaking directly to a camera. Rosalind Krauss identified all performance to camera as narcissistic (1976), which includes the subset of artists’ direct address to camera, and since then the area has been widely understood within a psychoanalytical framework. This new approach provides a non-psychoanalytical perspective on direct address to camera, taking into account linguistic self-editing during the generation of speech (Skinner, 1957, p. 370) and technological editing processes once the speech has been recorded. While ‘artists’ film and video is a distinct form of cultural practice with its own autonomy’ in relation to mainstream film (Rees, 1999, p. vii), editing practices within the field of artists’ direct address to camera show no such independence and widely adopt techniques and terminology from the mainstream canon. I consider ways that the language and practice of editing can be expanded beyond the mainstream, and I introduce a transdisciplinary approach to the editing of speech, which is between, across and ‘beyond all disciplines’ (Nicolescu, 2008, p. 2). My practice plays a major role in developing a context for this enquiry. I use the video process, artist’s books, transcription, drawing and text to add to the existing vocabulary of mainstream editing. I create a new technique called blindediting, which involves cutting out video material without looking at it. Finally, I discuss my publication A Relational [Video] Grammar: Extrapolation (2013) which illustrates my transdisciplinary approach and explores the new language that I have developed for editing speech. My research provides a new perspective on the editing of speech in artists’ direct address to camera and suggests that a transdisciplinary understanding of editing practices can shed light on existing works within artists’ film and video.
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Timmons, Lena G. Boyd Jean Ann. „Functions of film music and sound within a genre : the revenge western /“. Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4900.
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McGill, Amy. „The contemporary Hollywood film soundtrack : professional practices and sonic styles since the 1970s“. Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/41173.
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Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre. It is argued that Hollywood sound production practices and styles have diversified to a high degree, particularly during the last three decades. Industrial realignments on the “New Hollywood” landscape in the 1970s and the integration of the independent and major sectors throughout the 1990s have introduced greater flexibility to mainstream filmmaking norms. These events have played key roles in the expansion of its different sonic styles and working practices in contemporary Hollywood. I take George Lucas and David Lynch, their respective sound design partners Ben Burtt and Alan Splet and composers John Williams and Angelo Badalamenti, and identify distinctions between their professional modus operandi and sonic styles to illustrate the growing diversification within the industry. Most importantly, these examples are used to demonstrate both the intricacy and variety that characterises the styles and crafts of the contemporary Hollywood soundtrack.
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Eernstman, Natalia. „Art as a source of learning for sustainable development : making meaning, multiple knowledges and navigating open-endedness“. Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9197/.
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This research is a practice-based inquiry into the contribution of art to processes in which communities explore, design and proceed on sustainable ways forward. In rejecting an overly technocratic approach, this thesis follows a learning-based conception of sustainable development. Rather than transmitting predetermined solutions, social learning is about establishing a prolific framework of conditions in which people can explore for themselves what is ‘right’, sustainable and desired. Such learning shows important overlaps with art, in that it does not set out to transmit a predetermined message; instead the meaning of something is collectively made throughout the process. Where the shift from instrumental, technocratic approaches to participatory, intersubjective and open-ended approaches to sustainable development is relatively new in the social sciences, artists arguably have a longer legacy working in non-instrumental and ‘goal-searching’ ways. Subsequently, this thesis proposes a range of artful approaches that would allow educators to create spaces in which meaning is mutually created. These are the result of three research activities: the researcher interviewed artists, she participated in practices of artists, and reflected upon her own making process in which she conceived social learning as a contextual arts practice. Where this thesis takes social learning into new areas of knowledge is in the way that it conceives the meaning of sustainable development as continuously coming out of the present. Despite a professed action-oriented and experiential rendition of sustainable development, academics in the field of learning for sustainability present the concept as theoretical and abstract: it exists separated from the lived world of practice that it draws meaning from. This thesis argues that the key potential of art lies in counteracting such excessive objectification of socio-environmental issues. Through locative meaning-making, for example, meanings are derived from the here and now rather than from abstracted terms. Consequently, social learning should not strive for sustainable development as an objective, general goal in itself. Instead the learning should be conceived as an emergent process that is driven by an active vehicle, score or invitation that generates an interaction-rich environment in which meaning-making can happen. Sustainable development then threads through the fabric of whatever is happening, rather than being a focus on its own.
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Redmon, Shanise. „HAPTIC HAPPENINGS: AN EXPLORATION OF SOUND, QUIET AND BLACKNESS“. Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/532222.
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African American StudiesM.A.
This research analyzes the lives and works of Black visual artists and filmmakers as visual representations of haptic events. This thesis examines how the lives of the artists and specific works of art are entangled with sound and quiet and directly reflect and shape the complexities black interiority. The possibilities of the black interior expand when the senses are combined and how the utilization of that synthesis centers the interior lives, ideas and art of black people. Centering the interior life creates space for the humanity of black people to be fully realized and explored without disruption both individually and collectively. Artists Jean-Michel Basquiat, David Hammons, Nick Cave and filmmakers Arthur Jafa and Kahlil Joseph’s work is used to illustrate how a haptic event is formed, how the haptic event effects both the artist and the audience and how the outcome of the haptic informs the present moment and often surpass the confines of language. This project extends the concept of Hapticality and the futurity of black interior life as a site of reflection, expression and resistance.
Temple University--Theses
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McCann, Mark. „Penser l'écran sonore les théories du film parlant /“. Click here to access, 2006. http://thesis.library.adelaide.edu.au/public/adt-SUA20070320.161033/index.html.
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Fortea, Richard, und Nils Vennberg. „Ljudbilders Mättnad i Film : Hur tjocka och tunna ljudbilder byggs upp“. Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20403.
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Detta kandidatarbete undersöker ljudbilder i film och vad som påverkar ljudbildens mättnad. Med stort fokus på Walter Murchs Dense Clarity, Clear Density (2005) bryter vi ner uppbyggnaden av en ljudbild för att få bättre förståelse kring detta. Med en egenframtagen analysmetod som fokuserar på filmers ljudbild analyserar vi scener ifrån flertalet filmer och tv-program, hittar mönster kring deras ljudläggning och hur det påverkar ljudbilden. Därefter bygger vi upp en lista med förhållningspunkter för olika typer av ljudbilder. Resultatet av undersökningen blir en förklaring av hur man uppnår olika former av ljudbilder i film och varför det blir så.
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Wilson, Laura. „Physical spectatorship and the mutilation film“. Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/physical-spectatorship-and-the-mutilation-film(7443c1ca-02ca-4133-8598-333fc44df9e8).html.
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This thesis explores what I call 'physical spectatorship' as it is generated by a group of films concerned with the mutilation of the human body. Focusing on the representation of mutilation on the screen and the physical responses this evokes, the thesis is organised around the study of a series of dynamic engagements that reconfigure the film-viewer relationship; these include: corporeal mimicry and the cinematic visualisations of mutilation; generalised anxiety and experimental use of sound; and the nausea generated by audio-visual techniques that both signify and locate the filmic gut in the viewer's body. Combining close textual analyses with theoretical approaches, this thesis draws upon psychoanalytic, phenomenological and feminist theories of film and spectatorship. Throughout the chapters, my argument builds upon the work of Vivian Sobchack and Laura Marks in order to interrogate further what might be meant by the notion of the embodied spectator. The chapters explore this notion, alongside that of the film viewer, to generate a dialogue with previous theorists of the cinematic spectator, including Christian Metz and Richard Rushton. Exploring through close textual analyses the specific filmic techniques that generate intense physical responses, this thesis argues that the mutilation film demands a rethinking of some of the key categories in theories of spectatorship. Extending across national cinemas and reaching beyond conventional generic distinctions, the mutilation film produces a visceral aesthetic that has yet to be analysed. Focusing on particular aspects of the mutilation film, such as the assault narrative sequence, use of extreme frequencies and haptic sounds and images, the thesis offers detailed readings of the following texts: Dans Ma Peau (Marina de Van, 2002), Irréversible (Gaspar Noé, 2002), Saw II (Darren Lynn Bousman, 2005) Saw III (Darren Lynn Bousman, 2006) Saw IV (Darren Lynn Bousman, 2007) Saw V (David Hackl, 2008) Saw VI (Kevin Greutert, 2009) Saw 3D (Kevin Greutert, 2010), Hostel (Eli Roth, 2005), À l'intérieur (Alexandre Bustillo and Julien Maury, 2007), The Human Centipede: First Sequence (Tom Six, 2009) and The Human Centipede: Full Sequence (Tom Six, 2011).The analyses that form this thesis demonstrate the problems with separating notions of the 'spectator as textual construction' from that of the 'viewer as physically embodied'; yet these readings also indicate the necessity of continuing the task of conceptualising their interrelatedness, rather than simply using them interchangeably. The conclusion argues that the concept of physical spectatorship offers one way to understand how particular contemporary aesthetics have reconfigured the boundary between viewer and film.
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Allison, Deborah. „Promises in the dark : opening title sequences in American feature films of the sound period“. Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247223.
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Natzén, Christopher. „The Coming of Sound Film in Sweden 1928-1932 : New and Old Technologies“. Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42168.
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This dissertation examines the coming of sound film in Sweden during the years 1928–1932, and the reception of mechanically recorded sounds both in the trade press and among audiences. The novelty of sound film opened up for a negotiation of the perception of sound and image, as it made visible the film medium’s technological construction, before this visibility was once more absorbed by the cinematic discourse. The conversion to sound film is considered from three perspectives -- technology, reception and practice -- as well as through the concept of intermediality, focussing how the audio-visual expression changed during this period. Chapter 1 “Image, Sound, Audience I: ‘Constructed’ sounds - the visibility of technology” deals with these issues prior to the conversion to sound, and the following intermediate years, until sound film had reached a certain equilibrium. Chapter 2 “Production – The Companies” deals with the production and the major Swedish sound companies. Particular attention is given to how formative music in their films transforms itself into a consistent use of non-diegetic music two years before this happened in Hollywood. Chapter 3 “Reception – The Cinemas” addresses the topic of the reception of the first sound films in Sweden during 1929. The argument is that the audience’s re-awakened awareness of the technology described in Chapter 1 was an active part in this process, and that their reactions led back into the advertising campaigns, making them participants in the cinematic event. Chapter 4 “Practice – The Musicians” continues this debate from a musician’s point of view. This chapter turns the focus upside down and looks at the arrival of sound film from a grass-roots perspective. While chapter 4 diverts somewhat in dwelling on issues that do not strictly deal with the conversion to sound, it serves to contextualise a technological invention that changed not only film production and reception, but also had very concrete social repercussions for those that created the sounds of music. Chapter 5 “Image, Sound, Audience II: ‘Authentic’ sounds - the disappearance of technology” dovetails with Chapter 1, addressing similar phenomena at a time when these had become fully integrated and the technology once more became invisible.
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Starrs, D. Bruno. „Aural auteur : sound in the films of Rolf de Heer“. Queensland University of Technology, 2009. http://eprints.qut.edu.au/29302/.
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An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound.
The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films.
The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism.
As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.
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Pun, Betty Oi-Kei School of Modern Language Studies UNSW. „Intersemiosis in film: a metafunctional and multimodal exploration of colour and sound in the films of Wong Kar-Wai“. Awarded by:University of New South Wales. School of Modern Language Studies, 2005. http://handle.unsw.edu.au/1959.4/22922.
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This study explores two stylistic features in the films of contemporary Hong Kong film-maker Wong Kar-Wai: colour and sound. In particular, it focuses on how transitions in colour palettes (e.g. from a natural colour spectrum to a monochromatic effect of black-and-white) and specific sound resources (such as silence) function as important semiotic resources in the films, even when they appear to create a disjunctive effect. The study draws on two perspectives on communication to explore film. The first is the metafunctional hypothesis of Systemic-Functional Linguistics, which theorises that the communicative dimensions of texts can be explored from three simultaneous ???macro-functions???: the ideational, the interpersonal and the textual metafunction. The second is multimodal communication, which stresses that multiple semiotic resources are used for meaning-making purposes and that meanings created multimodally are multiplicative in essence. From this theoretical basis the study aims to illuminate two inter-related objectives. First, that the meaning potentials of colour transition and sound are construed and enabled by the co-ordinations of meanings across different co-present semiotic resources ??? known as intersemiosis in the study. Second, that the semiotic capacities of the two resources can be usefully explored from a functional perspective. Drawing especially the notions of intersemiosis and resemiotisation the study shows that colour transition and sound are multivalent resources in Wong???s films. In other words, their meaning potentials are metafunctionally complex and are never static. The thesis argues that colour transition and sound should not be seen as having ???a??? meaning, but rather, that it is the semiotic complexities among the co-patterned resources that shape the meaning-making potential of the resources, and in turn, help contribute meaning potentials to the films.
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Rogoff, Jana [Verfasser], Susanne [Gutachter] Frank und Natascha [Gutachter] Drubek. „Audiovisual(a)synchrony in early Soviet sound film / Jana Rogoff. Gutachter: Susanne Frank ; Natascha Drubek“. Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät II, 2016. http://d-nb.info/110422979X/34.
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Rossholm, Anna Sofia. „Reproducing Languages, Translating Bodies : Approaches to Speech, Translation and Cultural Identity in Early European Sound Film“. Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://www.diva-portal.org/su/theses/abstract.xsql?dbid=1333.
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Helmers, Maike. „A new narrative frame : sound design and conceptual storytelling in German film, 1930-1933“. Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31235/.
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During the final years of the Weimar Republic, precisely at a time when the democratic principles of German government came under increasing pressure from national as well as global political and economic forces, sound film became rapidly established as an innovative element in German cinema. With the arrival of technology enabling the production of synchronous sound for cinema film, the era of live sound accompaniment in cinemas drew to a close. This thesis discusses the period of Germany’s transition into the sound film era within a wider historical context of the late Weimar Republic and identifies the emergence of a new cinematic aesthetic in early sound films made in Germany. The term “sound film” or “sound cinema” in the context of this thesis refers to film with a continuous, synchronous soundtrack. Sound film featured dialogue as well as other sound elements, such as sound effects, atmospheres or music. This new film- making process arrived in Germany right at the end of the 1920s and introduced film-makers to the technology to record dialogue (and other synchronous sound elements) alongside the image at the time of filming, on location or on a specially- built studio set. This research project examines German films from the late Weimar Republic in terms of a newly emerging relationship between image and synchronous soundtrack. The central research question addressed by this thesis is: • Against the backdrop of a medium in transition, how does the relationship between sound and image manifest itself in early German sound film? My original contribution to knowledge is the combination of academic research with practice-based knowledge of sound design determinants, resulting in a new methodology for the understanding of an emerging sound aesthetic in narrative films produced in Germany during the transition into synchronous sound. At the centre of this thesis are four films, selected from a longer list of titles under consideration; in- depth engagement uncovers the presence of greater complexity in these films’ use of sound than has been recognised to date. These case studies are assessed in terms of their creative approach to sound. This process reveals that the relationship between image and sound became an important component for the development of greater narrative complexity, as well as introducing new potential in the use of sound and image from an editing perspective. Furthermore, these early German sound films demonstrate that integration of music was more conceptually ambitious than has been previously acknowledged. The films selected for closer analysis for this project were made between 1930 and 1933 and belong to the narrative fiction or drama genre (as opposed to factual or documentary film). The findings of the thesis are summarised as follows: • It challenges existing assumptions that early sound films were unable to develop a degree of complexity within their soundtracks; • It reveals how the relationship between image and sound enhanced the intricacy of narrative and emotive story elements; • It demonstrates that high cost of converting to sound film drove most small independent film studios out of the industry, leaving sound film production to big companies such as Ufa; • It revises the concept that eminent theorists of the Weimar period rejected sound film, in preference over silent film; • It refutes an assumption that the arrival of sound represented a retrograde step for editing and cinematography, or that early German sound films were inferior in creative ambition compared to the films of the silent era; • Furthermore, this project establishes that the arrival of technological innovation (inventions which facilitated the use of sound) was just the beginning of a more complex conceptual process during which film- makers developed a new film language to integrate the sonic domain. This thesis concludes that the transition from silent to sound film was of considerable public interest, and that the potential promise of sound for film was a topic of wide- ranging debate before, during and after the transition took place in Germany. The arrival of film sound technology was a revolution; harnessing the creative potential of this technology in order to enhance cinema’s narrative potential was a process of evolution.
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Struhařová, Michaela. „Zvuková postprodukce v oblasti reklamy a filmu, případová studie firmy Studio Beep s.r.o“. Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-199246.
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Main topic of this thesis is description of sound post production in advertising and in the film film industry and making case study of company Studio Beep s.r.o. First aim of this thesis is describe as clearly as possible the theory of sound and sound post production in advertising and in film industry and also show specifics accompanying production of sound in each discipline. The theoretical part contains basic overview about history of sound, sound dramaturgy and about general principles of sound post production. Second aim is practical description of this issue on specific advertising and film projects, which were realized in Studio Beep s.r.o. Practical description helps us with understanding whole issue and with complementing the theoretical part.
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Linscott, Charles P. „Sonic Overlook: Blackness between Sound and Image“. Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.
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Taylor, J. „From sound to print in pre-war Britain : the cultural and commercial interdependence between broadcasters and broadcasting magazines in the 1930s“. Thesis, Bournemouth University, 2013. http://eprints.bournemouth.ac.uk/21079/.
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This thesis is a study of key broadcasting magazines published in the United Kingdom prior to the Second World War. At its centre is the premise that the relationship between broadcasting and the magazine industry evolving around it was symbiotic in nature. The relationship was complex because the broadcasters provided much of the material for the magazines to publish and therefore could potentially use this as a tool for influence and publicity, as they sought to stimulate the demand for their output in the British public. However, the magazines were the mediators of the flow of communication. Their editorial content not only provided a critical commentary on material broadcast but also represented a direct conduit between the readers/audience and the broadcasters by providing a forum for the readers/audience to publish their views. Exploring the history of early broadcasting from the perspective of this material reveals the interdependency between the radio stations/broadcasters, the magazines and ultimately, how they connected to the readers/audience. While there have been other partial studies of broadcasting magazines, particularly the Radio Times, these have not assessed the magazine against other contemporary magazines, nor have they placed the magazine within a broadcasting history context. This study not only considers the magazines against the background of the growing broadcasting industry, it also explores what wireless meant to its first audience. This was a crucial element for understanding how the public responded to the developments which were taking place in the 1930s, when commercial enterprises encroached on the BBC’s monopoly and attempted to poach its listeners.
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Erik, Rosshagen. „Sync Event : The Ethnographic Allegory of Unsere Afrikareise“. Thesis, Stockholms universitet, Institutionen för mediestudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131291.
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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio-vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Rowe, Lois. „The address of spirituality in contemporary art“. Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/4198/.
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The thesis explores the use of religious themes and the notion of self-design in contemporary art practice. It argues that art today that addresses religion does so primarily for its rhetorical function: for a recognizable pattern of persuasiveness, which is ultimately defined by its established mechanisms of belief. Furthermore, it suggests that it is through an engagement with this secularized rhetoric that the art viewer today can potentially be provoked to re-create oneself in ones own terms; or, in Richard Rorty's terms, to 'revocabularize'.
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Burge, Eric William. „Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics“. Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.
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Traditional documentary films, particularly science and natural history works, presume to authentically or legitimately convey accurate representations of historical events that actually occurred at a prior time. Factual and convincing representations are not necessarily congruent, and a film's merit of authenticity is often based on the perceived validity of the visual content represented. While visual imagery dominates a presentation's general delivery, a film's sound design is a fundamental structural element that is often overlooked or less scrutinized with regard to factual or accurate recounting of these same historical events. The purpose of this thesis is to examine methodologies of sound acquisition and reproduction and to discuss how various acoustic contents are perceived in relation to associated visual elements. While discerning viewers may notice critical discrepancies in picture contents that may invalidate a film's credibility, a complex matrix of sonic elements does not lend itself to deconstruction as easily. Thorough analysis of a science and natural history film must include an examination of its complete sound design. Consideration must be given to the ethical implications of using any synthesized or borrowed audio tracks if such a work is to be considered as "factual" documentary. The standards of acceptance or rejection should be no different than those associated with fabricating unnatural or contrived visual contents, no matter how compelling may be the end product.
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Abel, David. „Sound and image : experimental music and the popular horror film (1960 to the present day)“. Thesis, University of Central Lancashire, 2008. http://clok.uclan.ac.uk/7650/.
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This study investigates the functional relationship between sound and image within a particular generic and historical context - experimental music and the popular horror film, from 1960 to the present day. The study responds to a significant gap in the literature that requires sustained and in-depth academic attention. Despite recent expansion, the field of film music studies has yet to deal with alternative functional models that challenge the overall applicability of the dominant narrative-based theoretical framework. Recent scholarship suggests that a proper theoretical comprehension of horror film music's primary function requires a refocusing of the hermeneutic emphasis upon dimensions of the cinematic (or audio-visual) sign that can be described as `nonrepresentational.' This study applies a relatively new psychoanalytical framework to explain how the post-1960 horror film deploys these non-representational elements, incorporating them into an overall cinematic strategy which indexes the transition towards a post-classical cinematic aesthetics. More specifically, this study assessesju st how efficiently experimental musical styles and techniques aid the reconfiguration of the syntactical components of horror film to these very ends. Using three case study directors, this study focuses upon major developments in musical style and cinematic technology, describing the ways in which these have facilitated this cinematic strategy. A particularly useful contribution to the knowledge is made here via the study's explanation as to how the particular psychoanalytical framework applied can illuminate the functional and theoretical relationships often posited between both the formal and subjective dimensions of the post-1960 horror film experience. The conclusions reached suggest this theoretical explication of post-1960 horror film music's function can now take its place alongside previously dominant narrative frameworks. Given the influential status of the horror genre, the findings of this investigation prove useful for comprehending the increasing heterogeneity of postclassical film music in general, and the functional relationship(s) of sound and image in particular.
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Andriano-Moore, Stephen Albert. „The professional culture of Hollywood film sound : understanding labor politics and culture through practitioner discourse“. Thesis, University of Nottingham, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574611.
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Within the Hollywood film industry, sound is marginalized as the lowest status craft whose use and functions are often not considered until the last phase of filmmaking. The professional culture of Hollywood film sound is wrought with social, political and occupational misgivings as a result of sound's lower status. This thesis utilizes empirical research in an examination of the professional discourse of film sound practitioners to illuminate the issues, conditions and politics of labor that affect and form the professional culture of Hollywood film sound. Hollywood film sound practitioners critically analyze and theorize over social, occupational and political aspects of their work in email discussion groups such as the Sound Article List and the Sound Design List as well as within the professional journals of the Cinema Audio Society and the Motion Picture Editors Guild. The examination of professional discourse between Hollywood film sound practitioners reveals tension within the professional culture concerning filmmaking practices, work roles, professional identity, creative contribution, recognition and status. An in- depth case study considers the ways in which one leading practitioner, Oscar winning sound designer and re-recording mixer Randy Thorn, actively engages in discourse and activity invested in improving the marginalization of film sound and film sound practitioners. This investigation of industrial reflexive professional discourse and film sound organizations illuminates a dynamic picture of the professional culture of Hollywood film sound and how practitioners conceive and negotiate their professional identities, status within the industry and their impact on film.
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Wilkie, Sonia. „The effect of audio cues and sound source stimuli on looming perception“. Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8974.
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Objects that move in depth (looming) are ubiquitous in the real and virtual worlds. How humans interact and respond to these approaching objects may affect their continued survival in both the real and virtual words, and is dependent on the individual's capacity to accurately interpret depth and movement cues. In computer-generated environments, including hyper and virtual reality,film, and gaming, these cues are often complex sounds with multiple audio cues that are creatively designed for maximum effect. To accurately generate a dynamic and rich perception of looming objects, the design of such complex stimuli should be based on a firm scientific foundation that encompasses what we know about how people visually and aurally perceive events and interactions. Conversely, many psychological studies investigating auditory looming depict the object's movement using simple audio cues, such as an increase in the amplitude, which are applied to tones that are not regularly encountered in the natural world, such as sine, triangle, or square waves. Whilst the results from these studies have provided important information on human perception and responses, technological advances now allow us to present complex audiovisual stimuli and to collect measurements on human perception and responses to real and hyper-real stimuli. The research in this thesis begins to address the gap that exists between the research corpus and industry usage. This is initially accomplished by conducting a feature analysis of the audio cues and complex sounds constructed by sound designers for film scenes presenting objects moving in depth. This is followed by a perceptual study measuring human responses, both physical and emotional, to the complex audio cues designed for the film scenes. Using physical models, we then select a number of audio cues for closer inspection and introduce the parameter of `room reflections' as an audio cue. We investigate whether or not human responses to various audio cues differ when they are presented individually or in combination, or when they are applied to an artificial (square wave) sound source or a real world sound source. Finally, we test the capacity of these audio cues to bias multimodal auditory-visual perception of an approaching object.
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Ma, Siyuan. „To Utopianize the Mundane: Sound and Image in Country Musicals“. Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6112.
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Many consider music, songs, and dance performance as utopian signifiers for cinema, but few has entered the utopian discourse of country musicals, a small genre of cinema usually known as country music films. By closely scrutinizing Pure Country (1992), this thesis aims to reveal how country music—as music numbers and as background cues— integrate and connect the fragmented on-screen world for the country musicals so as to offer audiences a fullness of utopian experience, and how this utopian effect are culturally significant for American audiences due to country music’s unique mechanism of constructing utopia and nostalgia in its past-orientations, sentimentalities, and alleged authenticities. I argue because of the American country music’s internal need for utopia as an individual and social agent, Pure Country, as well as the neo-traditionalism country music defined by Pure Country, reconciles the pop and the old time country music, and also conciliates the tension expressed in such music tastes between the rural and urban communities. This reconciliation makes Pure Country a not so perfect cinematic text for documenting country music’s authenticity and origin, but fully and clearly reflects the utopian meaning of country music on an individual and social level.
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Mikael, Johansson. „Videoproduktion : En rapport om produktionsprocessen av beställningsfilm“. Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-25790.
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Denna rapport beskriver produktionsprocessen för framtagandet av två filmer till ett svensktupplevelseföretag. Filmernas syfte är att informera potentiella kunder vad de kan förvänta sig. Dessa filmer ska efter leverans implementeras på upplevelseföretagets hemsida. Rapporten visar olika steg i processen från beställning till leverans samt de metoder somanvänds för att nå det resultat beställaren önskar. Projektet resulterade i två filmer, från två olika upplevelser, som efter leverans implementerades på upplevelseföretagets hemsida.The aim of the project is to use different theories to deliver films to meet the demands and desires that the client has. This report describes the production process for the production of two films to a Swedish experience-company. The films purpose is to inform potential customers what kind of experience they can expect. These films will after delivery be implemented on experience company website. The report shows the various steps in the process from order to delivery, and the methods used to achieve the results the client wants. The project resulted in two films from two different experiences, who after delivery was implemented on the experience-company website.
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Frisvold, Hanssen Eirik. „Early Discourses on Colour and Cinema : Origins, Functions, Meanings“. Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.
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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.