Academic literature on the topic 'Film sound history'
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Journal articles on the topic "Film sound history"
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Baranowski, Andreas M., Rebecca Teichmann, and Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions." Art and Perception 5, no. 3 (August 10, 2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.
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Laughter is said to be contagious. Maybe this is why TV stations often choose to add so-called canned laughter to their shows. Questionable as this practice may be, observers seem to like it. If such a simple manipulation, assumingly by inducing positive emotion, can change our attitudes toward the film, does the opposite manipulation work as well? Does a negative sound-track, such as screaming voices, have comparable effects in the opposite direction? We designed three experiments with a total of 110 participants to test whether scream-tracks have comparable effects on the evaluation of film sequences as do laugh-tracks. Experiment 1 showed segments of comedies, scary, and neutral films and crossed them with three sound tracks of canned laughter, canned screams, and no audience sound. Observers had to rate the degree of their subjective amusement and fear as well as general liking and immersion. The sound-tracks had independent effects on amusement and fear, and increased immersion when the sound was appropriate. Experiment 2 was identical, but instead of canned sounds, confederates of the experimenter enacted the sound-track. Here, the effects were even stronger. Experiment 3 manipulated social pressure by explicit evaluations of the film clips, which were particularly influential in comedies. Scream tracks worked as well as laugh tracks, in particular when the film was only mildly funny or scary. The information conveyed by a sound track is able to change the evaluation of films regardless of their emotional nature.
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Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.
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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all sound’s fictional aspects.
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Wingfield, Nancy Meriwether. "When Film Became National:“Talkies” and the Anti-German Demonstrations of 1930 in Prague." Austrian History Yearbook 29, no. 1 (January 1998): 113–38. http://dx.doi.org/10.1017/s006723780001482x.
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Film was a relatively new commercial-entertainment medium in the summer of 1930, and newerstill were the “talkies.” Unforeseen cultural difficulties accompanied the advent of sound films, to which spoken language gave an intrinsic national character. Language accentuated national differences in feeling and thought, and since audiences could no longer “naturalize” films, they could not adopt the imaginative content of sound films as their own “cultural territory.” American audiences mocked the nasal English accents in British films, while the British hissed American accents and Parisians greeted the first American ”talkie” with cries of “Speak French!” In Czechoslovakia, historical circumstances complicated popular reaction to sound films. With the founding of the state in 1918, Czechs had rejected their Austrian legacy and attempted to enforce a Czech character in all aspects of public life.
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Abbate, Carolyn. "Sound Object Lessons." Journal of the American Musicological Society 69, no. 3 (2016): 793–829. http://dx.doi.org/10.1525/jams.2016.69.3.793.
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Two brief film sequences, in which paper blowing down a street (The Informer, 1935) and a candle passed along a table (The Old Dark House, 1931) make sounds. Next to them lies an antique microphone. This article charts the genealogies, cultural resonances, and interactions of these sound objects, drawing on the history of sound and acoustic technologies, film music aesthetics, and music philosophy. The sound objects give expression to fables about hearing in the machine age (1870–1930), and they disenthrall the inaudible: a sign of modernity. They provoke us to consider technological artifacts not as embodying empirical truths, but as mischief-makers, fabulists, or liars; and to confront technological determinism's sway in fields such as sound studies and music and science, which has given rise to intellectual talismans that sidestep the complexities in interactions between humans, instruments, and technologies. To underline this dilemma I make a heuristic separation between imaginarium, sensorium, and reshaped hand. This separation contextualizes a return to the film sequences and their historical precedents, with an emphasis on their patrimony from sound-engineer improvisation, and as aesthetic negotiations with the microphone itself. The carbon microphone, invented in 1878, had delivered a shock to machine age imaginations; its history is largely untold, and is sketched here to suggest that a fuller history centered on microphonics would lie athwart conventional scholarly accounts of sound technologies, listening, and hearing ca. 1830–1930. The sound objects, finally, give voice to a vernacular philosophy of music's efficacy. They merit an ethical metaphysics, where metaphysical language, ironically, asks us to be attentive to mundane objects that have been disdained and overlooked.
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Altman, Rick. "Establishing Sound." Cinémas 24, no. 1 (February 26, 2014): 19–33. http://dx.doi.org/10.7202/1023108ar.
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The history of film sound has usually been configured as a series of technological upheavals. In every case, the story has been told through technological innovations, as if changes in technology were alone responsible for the development of new sound strategies. The approach offered here differs markedly from these previous treatments of sound. Instead of concentrating on technological shifts, this article stresses technical decisions made by the soundmen and directors responsible for developing Hollywood’s standard approach to sound. Through succinct analysis of two key films, The First Auto (Warner, 1927) and It Happened One Night (Columbia, 1934), along with briefer treatment of The Big Trail (Fox, 1930), a distinction is made between “shot-by-shot” treatment of sound and “scene-by-scene” treatment of sound. The systematic use of sound in It Happened One Night to establish and maintain a coherent sense of place gives rise to recognition of the increasingly common use of what the article terms “establishing sound.” Parallel to Hollywood’s familiar technique of introducing each scene with an “establishing shot,” the use of establishing sound offers filmmakers an additional method of locating auditors and maintaining their relationship to the film.
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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (April 2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.
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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.
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Newland, Paul. "‘I didn't think I'd be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History." Journal of British Cinema and Television 13, no. 2 (April 2016): 262–77. http://dx.doi.org/10.3366/jbctv.2016.0312.
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It could be said that the films of the director Peter Strickland are in many ways exemplars of a rich strain of twenty-first-century British art cinema. Like work by Andrea Arnold, Steve McQueen, Jonathan Glazer, Lynne Ramsay, Ben Wheatley and Sam Taylor-Wood, among others, Strickland's three feature-length films to date are thought-provoking, well-crafted, prestigious, quality productions. But in this article I show that while Strickland's second feature-length film, Berberian Sound Studio, conforms to some of the commonly held understandings of the key traits of British art cinema – especially through its specific history of production and exhibition, its characterisation, its narrative structure, and its evidencing of the vision of an auteur – ultimately it does not sit comfortably within most extant histories of British national cinema or film genre, including art cinema. More than this, though, I argue that in its challenge to such extant critical traditions, Berberian Sound Studio effectively operates as ‘art film as alternative film history’. I demonstrate that it does this through the foregrounding of Strickland's cine-literacy, which notices and in turn foregrounds the historically transnational nature of cinema, and, at the same time, playfully and knowingly disrupts well-established cultural categories and coherent, homogenous histories of cinema.
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Liz Czach. "The Sound of Amateur Film." Film History 30, no. 3 (2018): 75. http://dx.doi.org/10.2979/filmhistory.30.3.04.
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Higgins, Scott. "Seriality's Ludic Promise: Film Serials and the Pre-History of Digital Gaming." Eludamos: Journal for Computer Game Culture 8, no. 1 (December 12, 2014): 101–13. http://dx.doi.org/10.7557/23.6158.
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This essay explores the American Sound Serial film as part of a continuum to which digital gaming may also belong. By drawing on concepts derived from the study of video games, this study broadens our understanding of youth-oriented films produced in Hollywood from the 1930s to the mid 1950s. In turn, this provides a new vantage on continuities between old and new serial forms, and sheds light on digital gaming’s pre-history.
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Deggeller, Kurt. "From “Sound” to “Sound and Audiovisual”: History and Future of IASA." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 52 (August 19, 2022): 7–13. http://dx.doi.org/10.35320/ij.v0i52.146.
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IASA emerged in 1969 from IAML, the International Association of Music Libraries, Archives and Documentation Centres. The interests of IAML’s members largely focused on music as manuscript or score, and musical sound recordings were dealt with in the Record Library Committee. IASA was founded to consider additional types of sound recordings, including research and oral history. From the frst years of IASA’s existence, the question of the organisation’s relationship to the moving image arose, represented by the International Federation of Film Archives (FIAF). But as early as 1979, a delegate from the United States also brought video into play. With independence from IAML in the late 1980s, an intensive discussion began about the future of IASA and the expansion of the scope of the association to include audiovisual documents. Finally in 1999, the constitution and the name of the association were adapted. The transformation process triggered by this name change is still underway today. It could prove to be an advantage for IASA because it opens possibilities of adaptation to the rapidly changing world of audiovisual production due to digitisation and online media.
Dissertations / Theses on the topic "Film sound history"
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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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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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Akça, Deniz. "Mapping Istanbul's Istiklal Avenue : uncovering the traces of female ethnicity in Turkish film, architecture and sound through fine art practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12373/.
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This practice-led research investigates the problematic representations of women from ethnic minorities in the context of Turkey. It questions the ways in which Turkish cinema conceals the ‘other’ ethnic and cultural differences and represents female identity. It seeks to address this problem through newly created artworks: a series of animation and video works aiming to evoke traces of ‘other’ female ethnicities in Turkish society. The case study, Istiklal Avenue,is an important location that was formerly inhabited by ethnic minorities and was the birthplace of Turkish cinema (Yeşilçam) in 1914. This location forms a platform for the research to find new forms of representation through spatial mappings in the specially created artworks. The thesis is situated in relation to the existing literature on historical representations, from the late nineteenth-century Ottoman Istanbul to the period that marks the Istanbul Pogrom (1955), and to contemporary representations of women, especially Asuman Suner and Gönül Dönmez-Colin’s analyses of non-Muslim women in New Turkish Cinema. The methodological approach of the thesis is shaped by the investigation of Turkish cinema and site-specific research at Istiklal Avenue. Svetlana Boym’s (2001) idea that cultural references are usually hidden within the details of ‘reflective nostalgia’films is an important concept which is referred to throughout the thesis. The term ‘shock effect’, which Suner (2010) employs for Turkish reflective nostalgia films, is used in the thesis to describe moments of rupture in the collective memory and consciousness of Turkish society regarding the histories of the ethnic and religious minorities of Turkey. Visual and aural dissonances are created in the artworks to evoke traces of these histories. The first artwork uses the voice-over of the female protagonist Madame Lena in the film Whistle If You Come Back (1993)to create an audio-visual and spatial map for these repressed identities, but the female voice in the final artwork generates a more intensified evocative experience, described by adopting Catherine Clément’s term ‘rapture’ (1994). The research also looks at the difference between ethnic identities through the spoken Turkish of ethnic minorities of an older generation, to explore the viewing of the artworks in different cultural contexts. As well as theoretical and historical research into the female voice,architectural and other visual details are used as research material to make artworks. On-site investigations reveal how various film techniques and montages inform cognitive and psychogeographic mapping, which is put into practice to achieve a spatial understanding of Istiklal Avenue. This investigation leads to the discovery of Botter House, a culturally and historically significant building,which enables the thesis to examine female presence in public space by investigating the flâneuse of the nineteenth-century Istiklal Avenue. Through the artworks, this study proposes that spatial representations, reconstructed from visual and vocal details,can contribute to the representation of repressed ethnic identities, and can question the politics of the representation of ethnic minority women in Turkey.
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Wielgus, Alison Lynn. "You had to have been there : experimental film and video, sound, and liveness in the New York underground." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4794.
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You Had to Have Been There challenges the role of fetishistic materiality throughout Film Studies using the history of New York underground film and video production from 1965 to 1985. It focuses on four situations of underground film and video production and exhibition: the relationship between Andy Warhol and the Velvet Underground's Exploding Plastic Inevitable and the Film-makers' Cinematheque, the screening of Michael Snow's Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen at Anthology Film Archives, the production of work by Ed Emshwiller, Nam June Paik, Steina and Woody Vasulka, Bill Viola, and other artists at WNET's Television Laboratory, and the exhibition of No Wave Cinema by Beth and Scott B, Lizzie Borden, Vivienne Dick, John Lurie, James Nares, and others at Max's Kansas City, the Mudd Club, and the New Cinema.
This project uses the above exhibition sites to argue for the importance of liveness and presence in recording media, considering the affect of liveness not only on our definitions of cinema, but also on the relationship between cinema and historiography. While a canon of experimental film has emerged within Film Studies, determined by the alignment of experimental filmmakers and the academy, this dissertation carves out an alternate corpus of works screened in non-traditional environments. It finds an affinity between such spaces and the project of post-classical apparatus theory, both of which challenge the regimented space of traditional film spectatorship.
The films and videos of this project are connected by two crucial elements: their location in New York City and their attention to sound. The personnel involved in the creation and reception of these films and videos constitute a network forum, or a group of artists who use the spaces of reception and production to reconfigure assumptions about film and video. Some of these spaces share direct links and touchstones, while others are tied together by shared concerns. One shared concern is a critical approach to the relationship between sound and image within cinema. Michael Snow and the filmmakers of the No Wave use pre-existing ideologies of sound to challenge cinematic presence and absorptive spectatorship while embracing the limits of subcultural spectatorship. The Exploding Plastic Inevitable and the Television Laboratory embrace sound's power as present, reorienting our perspective on the relationship between technology and the body. Taken together, these exhibition sites argue for the importance of sound and liveness in understanding experimental film history. They also suggest alternative modes of spectatorship that might hold productive power in our current media environment of hyper-reproduction and communicative capitalism.
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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.
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Goulart, Isabella Regina Oliveira. "Perdidos na tradução: as representações da latinidade e as versões em espanhol de Hollywood no Brasil (1929-1935)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-10072018-153045/.
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Esta tese aborda a circulação no Brasil de versões em espanhol produzidas por estúdios de Hollywood nos primeiros anos do cinema sonoro. Procuramos identificar nestes filmes algumas representações que os produtores norte-americanos vincularam à identidade latina. Temos o Rio de Janeiro e São Paulo como recorte geográfico, a partir da pesquisa histórica de recepção nas revistas Cinearte e A Scena Muda e nos jornais Correio da Manhã e O Estado de São Paulo. Entre 1930 e 1935, esses periódicos mencionaram uma série de produções hollywoodianas em língua espanhola, que nossas revistas consideraram inferiores aos filmes originais em inglês devido à barreira da língua e aos padrões de qualidade cinematográficos estabelecidos. Visamos demonstrar como a recepção das versões pela imprensa carioca e paulistana marcou o distanciamento que alguns grupos de nossa elite cultural projetavam em relação à América Latina, bem como um espelhamento nos Estados Unidos, afirmando uma relação imperialista pela via da cultura.This dissertation approaches the circulation in Brazil of the Spanish-language versions produced by Hollywood Studios in the early years of sound cinema and aim to identify in these films some representations of Latinidad made by American producers. The cities of Rio de Janeiro and Sao Paulo constitute the geographic approach. The magazines Cinearte and A Scena Muda, and the newspapers Correio da Manhã and O Estado de São Paulo were the main reference for the historical research. Between 1930 and 1935 these journals mentioned some Hollywood Spanish-language productions, which Brazillian magazines considered worse than the original English-language films because of the language barrier and the established film quality standards. This work aims to demonstrate how the reception of the Spanish-language versions by the Brazilian press marked the distancing that some groups of Brazil´s cultural elite projected towards Latin America, as well as a mirroring in the United States. It marks an imperialist relation through culture.
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McGinney, William Lawrence. "The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9839.
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Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.
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Juan, Myriam. ""Aurons-nous un jour des stars ?" : une histoire culturelle de vedettariat cinématographique en France (1919-1940)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010705.
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Les vedettes de cinéma sont apparues entre la fin des années 1900 et le début des années 1910,mais c’est au lendemain de la Première Guerre mondiale, avec la création des premières publications spécialisées à destination du public, que le vedettariat cinématographique achève de se constituer en France. Envisageant le phénomène comme un système économique, social et culturel couvrant l’ensemble des domaines constitutifs du cinéma (de la production à la réception), cette thèse étudie la mise en place du vedettariat cinématographique français de 1919 à la défaite de juin 1940. La période débute sur le constat de la domination des films américains portés par le succès de leurs stars, qui contraste avec les difficultés du cinéma français auxquelles les contemporains associent un manque de rayonnement des vedettes. Vingt ans plus tard, la popularité de ces dernières est incontestable et leur rôle dans le fonctionnement de l’industrie cinématographique est devenu capital, suivant un modèle bien différent toutefois de celui en vigueur à Hollywood pour lequel perdure la fascination des Français. Entretemps, le cinéma muet a cédé la place au cinéma parlant, une évolution dont ce travail tente d’évaluer précisément l’impact sur le vedettariat. Dans la perspective d’une histoire culturelle du cinéma en France,confrontant la perception des systèmes étrangers et celle du système français, analysant les pratiques autant que les discours, ce sont ainsi les représentations et les enjeux dont est alors porteur le vedettariat cinématographique que cette recherche entreprend d’appréhenderMovie stars came into being at the end of the 1900s and the beginning of the 1910s, but it is notuntil the end of the First World War that the star system became a reality in France, thanks to the creation of the first fan magazines. Regarding the economic, social and cultural aspects of the phenomenon, which covers every area of the cinema (from production to reception), this thesis studies how the French star system was established between 1919 and the Fall of France in June1940. At the beginning of the period the American movies and their stars dominate in France; instark contrast, the difficulties of French cinema are related to the weakness of its stars – its“vedettes” as the French say. Twenty years later, French movie stars have become unquestionably popular and they play a key part in the film industry, although they are involved in a system very different from the Hollywood one, which still fascinates French people. In the middle of this period, there occurred the transition to sound, an evolution whose impact on thestar system this thesis tries to determine precisely. Thus, this research in cultural history compares the way the French system and its rivals are seen, and it analyses both discourses and practices in order to explain the representations and the issues related to the movie star system in France during the period
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
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While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
Books on the topic "Film sound history"
1
Altman, Rick. Silent film sound. New York: Columbia University Press, 2004.
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2
Group, Society of Archivists (Great Britain) Film and Sound. Film and sound archive sourcebook. London: Society of Archivists, 1999.
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3
David, Neumeyer, and Deemer Rob, eds. Hearing the movies: Music and sound in film history. New York: Oxford University Press, 2010.
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Western film series of the sound era. Jefferson, N.C: McFarland, 2009.
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Sergi, Gianluca. The Dolby era: Film sound in contemporary Hollywood. Manchester: Manchester University Press, 2004.
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Rebecca, Coyle, ed. Drawn to sound: Animation film music and sonicity. Oakville, CT: Equinox Pub., 2010.
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Sounding funny: Sound and comedy cinema. Sheffield, UK: Equinox Publishing, 2015.
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Przybylek, Stephanie. Breaking the silence on film: The history of the Case Research Lab. Auburn, N.Y: Cayuga Museum of History and Art, 1999.
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Magic, myth, and monsters: Music, sound, and fantasy cinema. Sheffield, South Yorkshire: Equinox Pub., 2012.
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Neale, Stephen. Cinema and technology: Image, sound, colour. London: Macmillan, 1985.
Find full textBook chapters on the topic "Film sound history"
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Cardullo, R. J. "The Uses of History: Chen Kaige’s Farewell, My Concubine." In Teaching Sound Film, 213–19. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_23.
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Greiner, Rasmus. "Audiovisual History." In Cinematic Histospheres, 37–47. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_3.
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AbstractThe aim of this chapter is to consider relevant theories of visual and audio history whose ontologies a histosphere absorbs and elaborates. The first section surveys the relatively new field of visual history. It argues that a histosphere creates not just disparate images but a visual sphere in which history is brought to life. Research into audio history is an even newer and less developed field. The second section therefore sketches the outlines of an audio history of film and examines the aesthetics and function of film sound, understood as an equally important expressive dimension of histospheres. The two aspects are brought together in the third section: The fusion of sound and vision makes the historical film not just a model of a historical world, but a form of perception in its own right.
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Pavan, Gianni, Gregory Budney, Holger Klinck, Hervé Glotin, Dena J. Clink, and Jeanette A. Thomas. "History of Sound Recording and Analysis Equipment." In Exploring Animal Behavior Through Sound: Volume 1, 1–36. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97540-1_1.
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AbstractOver the last 100 years, there has been an explosion of research in the field of animal bioacoustics. These changes have been facilitated by technological advances, decrease in size and cost of recording equipment, increased battery life and data storage capabilities, the transition from analog-to-digital recorders, and the development of sound analysis software. Acousticians can now study the airborne and underwater sounds from vocal species across the globe at temporal and spatial scales that were not previously feasible and often in the absence of human observers. Many advances in the field of bioacoustics were enabled by equipment initially developed for the military, professional musicians, and radio, TV, and film industries. This chapter reviews the history of the development of sound recorders, transducers (i.e., microphones and hydrophones), and signal processing hardware and software used in animal bioacoustics research. Microphones and hydrophones can be used as a single sensor or as an array of elements facilitating the localization of sound sources. Analog recorders, which relied on magnetic tape, have been replaced with digital recorders; acoustic data was initially stored on tapes, but is now stored on optical discs, hard drives, and/or solid-state memories. Recently, tablets and smartphones have become popular recording and analysis devices. With these advances, it has never been easier, or more cost-efficient, to study the sounds of the world.
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Huvenne, Martine. "Embodied Listening, Felt Sound and the Audiovisual Chord in Film History." In The Audiovisual Chord, 183–208. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4807-7_8.
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Zettel, Christa. "The Same Tone, but a New Sound—Understanding the Story of the Soul as Pathway to Regenerative Civilizations." In Transformation Literacy, 29–43. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93254-1_3.
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AbstractThis chapter takes not only into a historic perspective that looks at human consciousness development over many millennia, but emphasizes the importance of mythology as the most deeply ingrained way of humankind to keep learning for transformations. The author argues, contrary to the modern mind’s needs, that the creative aspect of change or transformation is not order, but disorder or chaos. To avoid the final fragmentation or destruction of our world, the intuitive ‘universal power of self-renewal’ (the life instinct) needs to be reintegrated into rational science, to fill our scientific particularization (the death instinct) with meaning, which is adequate to living in a humane way on our planet. This makes the story of the soul (Greek: psyche), which is passed on by peoples and cultures in a nonlinear-out-of-time-way, not only an important resource to understand the entire civilizational process and subsequently the development of regenerative civilizations. By allowing the forthcoming of an innate integral structure in the human mind, which uses both rationality and intuition, creative mythology is a discipline important for transformation literacy. It can contribute to the so much needed acceleration and speed up the process of collective regeneration, because this is a creative act and unleashes what was previously impossible.
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"HOLLYWOOD’S EARLY SOUND FILMS, 1928–33." In Film Music: A History, 126–46. Routledge, 2009. http://dx.doi.org/10.4324/9780203884478-15.
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"THE LONG ADVENT OF SOUND, 1894–1926." In Film Music: A History, 87–103. Routledge, 2009. http://dx.doi.org/10.4324/9780203884478-13.
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"Revenue sharing and the coming of sound." In An Economic History of Film, 102–36. Routledge, 2004. http://dx.doi.org/10.4324/9780203358047-9.
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Cornu, Jean-François. "The significance of dubbed versions for early sound-film history." In The Translation of Films, 1900-1950, 191–220. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0011.
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Dubbing as a film translation technique has been largely taken for granted since its origins. Yet such origins are rarely looked into from historical, technical, and artistic perspectives. The study of early French-dubbed Hollywood and European films has a lot to teach us. This chapter examines aspects of voice-acting, lip synchronisation, dialogue alteration, and sound mixing in nine American, German, and British films. It reveals how the makers of French dubbed versions, in Hollywood and in France, were keen on recreating the soundtrack of foreign films according to their own perception of sound and voice treatment, sometimes disregarding the source material to the point of ‘enriching’ it. This approach has major implications for the reception of these versions, but also for the study of the evolution of sound practices in the early sound period. The historical merits of these versions also have significant archival and exhibition implications.
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Cornu, Jean-François. "Introduction Film history meets translation history: The lure of the archive." In The Translation of Films, 1900-1950, edited by Carol O’, 1–24. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0001.
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This introductory chapter highlights how film translation history is a new discipline, a coming together of film history and translation history. It provides a definition of film translation as encompassing all the conventional modes of film translation of the silent and talking periods. Because of the polysemiotic nature of the film medium, film translation includes related interventions of all kinds, such as editing changes and image and sound manipulation. The chapter also emphasises how this volume is driven by a multidisciplinary and international approach to film translation history, and contributes to scholarship seeking to transnationalise film history. It details the aims and structure of the book, and shows how crucial archival and access issues are to understanding the evolution of film translation, and to raising awareness about the nature of the films we watch and listen to.
Conference papers on the topic "Film sound history"
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Winter, Renee. "Intertwining spheres." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.20.
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Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.
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Douglas, S. Caleb, and Tyrel G. Wilson. "Integrated Emergency Construction and Engineering Response to 2013 Colorado Storm Damage." In 2015 Joint Rail Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/jrc2015-5686.
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Union Pacific Railroad’s Moffat Tunnel Subdivision, west of Denver, Colorado, was significantly impacted by an approximately 500 to 1,000 year storm event that occurred between September 9, 2013 and September 13, 2013. As a result of this historic event, washouts, earth slides, and debris flows severely impacted track infrastructure by eroding track embankments, destabilizing surrounding native slopes, and overwhelming stormwater infrastructure. Emergency response activities performed to restore track operations at Milepost (MP) 25.65 and MP 22.86 required the integration of civil, hydraulic, environmental and geotechnical engineering disciplines into emergency response and construction management efforts. Additionally, support from UPRR’s Real Estate Division was required when addressing private ownership and site access issues. The following text summarizes how coordinated efforts between various groups worked together in a pressure setting to restore rail service. The most significant damage occurred at MP 25.65 in a mountainous slot canyon between two tunnels accessible only by rail and consisted of a washout, approximately 200 feet (61 m) in length with a depth of 100 feet (30 m). MP 22.86 experienced slides on both sides of the track resulting in an unstable and near vertical track embankment which required significant fill and rock armoring. In addition to the embankment failures at MP 22.86, flood flows scoured around the underlying creek culvert, further threatening the geotechnical stability of the track embankment. The storm event highlighted the vulnerability of fill sections, where original construction used trestles. The repair plan engineered for MP 25.65 was developed to restore the lost embankment fill to near pre-flood conditions while limiting environmental impacts in order to minimize regulatory permitting requirements. Fill replacement performed during the initial emergency response was completed within 22 days, notwithstanding site remoteness and difficult access. Repair of the embankment required the placement of approximately 90,000 cubic yards (68,800 cubic meters) of fill and installation of four 48-inch (122-cm) culverts. Repair of embankment sloughing and scour damage at MP 22.86 was accomplished without the need for environmental permits by working from above the ordinary high water mark, using a “one track in – one track out” approach while restoring infrastructure to pre-flood conditions. A new headwall to address flow around the culvert inlet received expedited permit authorization from the U.S. Army Corps of Engineers by limiting the construction footprint through implementation of best management practices and minimizing placement of fill below the ordinary high water mark. Service interruptions, such as those at MP 22.86 and MP 25.65, require sound engineering practices that can be quickly and efficiently implemented during emergency response situations that often occur in less than ideal working environments. Track outages not only impact the efficiency of a railroad’s operating network, but also impact interstate and global commerce as transportation of goods are hindered. The need to have a team of experienced engineering and construction professionals responding to natural disasters was demonstrated by this storm event.