We are proudly a Ukrainian website. Our country was attacked by Russian Armed Forces on Feb. 24, 2022.
You can support the Ukrainian Army by following the link: https://u24.gov.ua/.
Even the smallest donation is hugely appreciated!
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sound film.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.
The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character.
This essay explores the director's vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. The author analyses several films about Georgia's capital Tbilisi, produced in different time periods. The vivid "sound face" of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city's sounds for the formation of the image of film characters in the cultural and historical context of particular films. The essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a film's semantics to higher aesthetic and intellectual levelsl.
4
Langkjær, Birger. "Making fictions sound real - On film sound, perceptual realism and genre." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2115.
This article examines the role that sound plays in making fictions perceptually real to film audiences, whether these fictions are realist or non-realist in content and narrative form. I will argue that some aspects of film sound practices and the kind of experiences they trigger are related to basic rules of human perception, whereas others are more properly explained in relation to how aesthetic devices, including sound, are used to characterise the fiction and thereby make it perceptually real to its audience. Finally, I will argue that not all genres can be defined by a simple taxonomy of sounds. Apart from an account of the kinds of sounds that typically appear in a specific genre, a genre analysis of sound may also benefit from a functionalist approach that focuses on how sounds can make both realist and non-realist aspects of genres sound real to audiences.
5
Archer, Martin O. "Space Sound Effects Short Film Festival: using the film festival model to inspire creative art–science and reach new audiences." Geoscience Communication 3, no. 1 (June 18, 2020): 147–66. http://dx.doi.org/10.5194/gc-3-147-2020.
Abstract. The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with film industry professionals, the standard processes of international film festivals were adopted by the project in order to challenge independent filmmakers to incorporate these sounds into short films in creative ways. Seven films covering a wide array of topics and genres (despite coming from the same sounds) were selected for screening at a special film festival out of 22 submissions. The works have subsequently been shown at numerous established film festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts on them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science.
6
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.
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.
7
REDFERN, NICK. "Sound in Horror Film Trailers." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.
In this paper I analyse the soundtracks of fifty horror film trailers, combining formal analysis of the soundtracks with quantitative methods to describe and analyse how sound creates a dominant emotional tone for audiences through the use of different types of sounds (dialogue, music, and sound effects) and the different sound envelopes of affective events. The results show that horror trailers have a three-part structure that involves establishing the narrative, emotionally engaging the audience, and communicating marketing information. The soundtrack is organised in such a way that different functions are handled by different components in different segments of the soundtrack: dialogue bears responsibility for what we know and the sound for what we feel. Music is employed in a limited number of ways that are ironic, clichéd, and rarely contribute to the dominant emotional tone. Different types of sonic affective events fulfil different roles within horror trailers in relation to narrative, emotion, and marketing. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on the reactions of characters in horror trailers and the presence of nonlinear features in the sound design of affective events.
8
Booth, Gregory. "Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs." Popular Music 19, no. 2 (April 2000): 125–45. http://dx.doi.org/10.1017/s0261143000000088.
IntroductionThe commercial Hindi language cinema is among the largest and oldest music film traditions on the planet. One of the most widely remarked and inflexible conventions of this highly stylised popular film genre is the regular appearance of song and dance scenes in almost every commercial Hindi film. A huge body of over 40,000 film songs (filmī gīt, as they are known in Hindi) has grown along with the thousands of Hindi sound films produced since 1931; unlike the more recent development of music video in the west, Hindi film songs have been intimately connected with larger narrative traditions and visual images from their very inception. Filmī gīt comprise one of the most intensely consumed popular music repertoires on the planet. Across the range of visual and sound media and on into live performance, the audience for film song must be numbered in the hundreds of millions throughout the South Asian subcontinent and diaspora.
9
Corbella, Maurizio, and Anna Katharina Windisch. "Sound Synthesis, Representation and Narrative Cinema in the Transition to Sound (1926-1935)." Cinémas 24, no. 1 (February 26, 2014): 59–81. http://dx.doi.org/10.7202/1023110ar.
Since the beginnings of western media culture, sound synthesis has played a major role in articulating cultural notions of the fantastic and the uncanny. As a counterpart to sound reproduction, sound synthesis operated in the interstices of the original/copy correspondence and prefigured the construction of a virtual reality through the generation of novel sounds apparently lacking any equivalent with the acoustic world. Experiments on synthetic sound crucially intersected cinema’s transition to synchronous sound in the late 1920s, thus configuring a particularly fertile scenario for the redefinition of narrative paradigms and the establishment of conventions for sound film production. Sound synthesis can thus be viewed as a structuring device of such film genres as horror and science fiction, whose codification depended on the constitution of synchronized sound film. More broadly, sound synthesis challenged the basic implications of realism based on the rendering of speech and the construction of cinematic soundscapes.
10
Prince, Stephen. ": Sound-on-Film: Interviews with Creators of Film Sound . Vincent LoBrutto." Film Quarterly 49, no. 1 (October 1995): 64. http://dx.doi.org/10.1525/fq.1995.49.1.04a00300.
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, and 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.
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.
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/.
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.
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.
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.
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.
8
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.
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.
10
Petrikis, Titus. "Creating a sound world for Dracula (Browning, 1931)." Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/21390/.
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.).
Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Sound." In A Level Film Studies, 63–75. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-4.
Atencia-Linares, Paloma. "Sound in Film." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 189–214. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_9.
Cardullo, R. J. "The Front Page, Dramatic Farce, and American (Film) Comedy." In Teaching Sound Film, 1–10. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_1.
Cardullo, R. J. "Neorealist Art vs. Operatic Acting in Pasolini’s Mamma Roma." In Teaching Sound Film, 107–16. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_10.
Cardullo, R. J. "Trainspotting: Jiří Menzel’s Closely Watched Trains." In Teaching Sound Film, 117–24. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_11.
Moncrieff, Simon, Chitra Dorai, and Svetha Venkatesh. "Affect computing in film through sound energy dynamics." In the ninth ACM international conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/500141.500231.
Zong-huang Zhao, Min Kong, Zhi-yong Zhang, Shi-ru Ye, and Jing-jing Zhang. "The study of polyaniline sound absorbing film materials." In 2011 International Conference on Electric Information and Control Engineering (ICEICE). IEEE, 2011. http://dx.doi.org/10.1109/iceice.2011.5777787.
Yu, X., R. Rajamani, K. A. Stelson, and T. Cui. "Active Sound Transmission Control for Windows Using Cabon Nanotube Based Transparent Thin Film Speakers." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-81108.
This paper explores the development of active sound transmission control systems for windows using transparent thin film speakers. A unique transparent thin film speaker consisting of a piezoelectric PVDF thin film coated with compliant carbon nanotube (CNT) based transparent conductors is developed. Acid treatment for single-walled carbon nantotubes (SWNTs) and layer-by-layer (LBL) nanoassembly based surface modification of the substrates are used to obtain highly transparent and conductive CNT thin films on both sides of a PVDF film. The developed thin film speaker shows good acoustic response over a broadband frequency range, and has the advantages of being flexible, transparent, and lightweight. Experimental results are presented showing that over 10 dB reduction in sound transmission is achieved globally. The transparent thin film actuators can thus be effectively used as actuators for active sound transmission control systems for windows.
4
Feng, Yunpeng. "The Generation Mechanism for the Long-term Coexistence of China's Sound Film and Silent Film." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.41.
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.
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.
6
Tsukagoshi, Keita, Takuya Hashimoto, and Takuji Koike. "Simultaneous Measurement of Swallowing Sound and Mechanomyogram of Submental Muscle with PVDF Film." In 2018 40th Annual International Conference of the IEEE Engineering in Medicine and Biology Society (EMBC). IEEE, 2018. http://dx.doi.org/10.1109/embc.2018.8512959.
Joyce, Stephen. "Digital Sound Manipulation for Film and Television and its Role in Affecting Emotions." In SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001142.
Kendall, Roger A. "Music in film and animation: experimental semiotics applied to visual, sound and musical structures." In IS&T/SPIE Electronic Imaging, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 2010. http://dx.doi.org/10.1117/12.849097.
Mitchell, Thomas J., Jess Thom, Matthew Pountney, and Joseph Hyde. "The Alchemy of Chaos: A Sound Art Sonification of a Year of Tourette’s Episodes." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.040.
Touretteshero is the name of a organisation that aims to raise awareness of Touette’s syndrome by sharing and celebrating the creativity and humour of the involuntary vocal and movement tics that characterise the condition. This paper documents the development of a Touretteshero project called The Alchemy of Chaos, a sound art piece that translates a year of intensive ticcing episodes (or ‘ticcing fits’) into a six minute sonification. The work emphasises both the faithful representation of data and the aesthetic sound quality, drawing techniques and ideas from sound design for film, which is often used to convey information about a visual scene in ways that can be used for sonfication. Specifically, the work uses Chion’s elements of auditory setting: short punctual sounds that can express locations with minimal sonic references. Sound parameters are also classified into groups that have ‘data significance’ and those that do not, with aesthetic interventions limited to those parameters that do not impact on data transparency. The resulting piece was included within a keynote talk at the Royal Albert Hall in the UK and the paper includes a qual-itative reflection on the work and the potential value that sound design techniques for film can bring to the auditory display community.
10
Wang, Xinwei, and Cecil Lawrence. "Molecular Dynamics Simulation of Thermal Conductivity of Silicon Films Using Environment-Dependent Interatomic Potential." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56725.
In this work, nonequilibrium molecular dynamics is used to predict the thermal conductivity of nanoscale thin silicon films in the thickness direction. Recently developed environment-dependent interatomic potential for silicon, which offers considerable improvement over the more common Stillinger-Weber potential, is used. Silicon films of various thicknesses are modeled to establish the variation of thermal conductivity with the film thickness. The obtained relationship between the thermal conductivity and the film thickness is compared with the results of the Lattice Boltzmann method, and sound agreement is observed.
Reports on the topic "Sound film":
1
Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.
Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
2
Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.
Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
3
Baker, James E. Ethics and Artificial Intelligence: A Policymaker's Introduction. Center for Security and Emerging Technology, April 2021. http://dx.doi.org/10.51593/20190022.
The law plays a vital role in how artificial intelligence can be developed and used in ethical ways. But the law is not enough when it contains gaps due to lack of a federal nexus, interest, or the political will to legislate. And law may be too much if it imposes regulatory rigidity and burdens when flexibility and innovation are required. Sound ethical codes and principles concerning AI can help fill legal gaps. In this paper, CSET Distinguished Fellow James E. Baker offers a primer on the limits and promise of three mechanisms to help shape a regulatory regime that maximizes the benefits of AI and minimizes its potential harms.
4
Somers Miles, Rachel, Alan Osbourne, Eleni Tzialli, and Esther Captain. Inward Outward, Critical Archival Engagements with Sounds and Films of Coloniality: A Publication of the 2020 Inward Outward Symposium. Inward Outward, December 2020. http://dx.doi.org/10.18146/inout2020.
