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Books on the topic 'Sourds – Au cinéma'

Author: Grafiati

Published: 25 May 2024

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1

1941-, Abel Richard, Altman Rick 1945-, and Domitor Conference (5th : 1998 : Library of Congress), eds. The Sounds of early cinema. Bloomington, IN: Indiana University Press, 2001.

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2

Entendre le cinéma. Paris: Klincksieck, 2010.

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3

Le son au cinéma. Arras: Artois presses université, 2010.

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4

1959-, Wallengren Ann-Kristin, ed. Today's sounds for yesterday's films: Making music for silent cinema. New York: Palgrave Macmillan, 2015.

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5

Raine, Michael, and Johan Nordström, eds. The Culture of the Sound Image in Prewar Japan. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089647733.

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This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.

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6

Journal audiobiographique: Radiophonie, arts, cinéma. Lyon]: Nouvelles éditions Scala, 2016.

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7

Zavattini, Cesare. Cinema. Milano: Bompiani, 2002.

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8

Turkish German cinema in the new millennium: Sites, sounds, and screens. New York: Berghahn Books, 2012.

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9

Nougaret, Claudine. Le son direct au cinéma: Entretiens. Paris: Institut de formation pour les métiers de l'image et du son, 1997.

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10

Pisano, Giusy. Une archéologie du cinéma sonore. Paris: CNRS, 2004.

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11

Pisano, Giusy. Une archéologie du cinéma sonore. Paris: CNRS éditions, 2004.

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12

Eduardo, Ades, Caixa Cultural Rio de Janeiro., Caixa Cultural São Paulo, and Caixa Cultural Salvador, eds. O som no cinema. [Rio de Janeiro, Brazil]: Tela Brasilis, 2008.

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13

Eduardo, Ades, Caixa Cultural Rio de Janeiro., Caixa Cultural São Paulo, and Caixa Cultural Salvador, eds. O som no cinema. [Rio de Janeiro, Brazil]: Tela Brasilis, 2008.

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14

Eduardo, Ades, Caixa Cultural Rio de Janeiro., Caixa Cultural São Paulo, and Caixa Cultural Salvador, eds. O som no cinema. [Rio de Janeiro, Brazil]: Tela Brasilis, 2008.

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15

McParland, Stephen J. Cycle cinema and sickle sounds: A musical appreciation of the biker film genre. North Strathfield, N.S.W: Cmusic Books, 2003.

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16

Jeunet, Jean-Pierre. Les magiciens du cinéma: Carné, Prévert, Trauner. Paris: Les Arènes, 2012.

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17

Le son au cinéma. Paris: Éditions de l'Étoile, 1992.

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18

O som no cinema brasileiro. [Rio de Janeiro, Brazil]: 7 Letras, 2008.

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19

Cinema is 100 years old. London: Thames and Hudson, 1995.

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20

Le cinéma, naissance d'un art: Premiers écrits (1895-1920). Paris: Flammarion, 2008.

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21

1939-, Bertrand Ina, ed. Cinema in Australia: A documentary history. Kensington, NSW, Australia: NSWU Press, 1989.

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22

British cinema in documents. London: Routledge, 2000.

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23

Sim, Gerald. Postcolonial Hangups in Southeast Asian Cinema. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721936.

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Postcolonial Hangups in Southeast Asian Cinema: Poetics of Space, Sound, and Stability explores a geopolitically situated set of cultures negotiating unique relationships to colonial history. Singaporean, Malaysian, and Indonesian identities are discussed through a variety of commercial films, art cinema, and experimental work. The book discovers instances of postcoloniality that manifest stylistically through Singapore’s preoccupations with space, the importance of sound to Malay culture, and the Indonesian investment in genre.

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24

Millet, Thierry. Bruit et cinéma. Aix-en-Provence: Publications de l'Université de Provence, 2007.

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25

N, Subramaniam K., and Tripathy Ratnakar, eds. Flashback: Cinema in the Times of India. [Bombay]: Times of India, 1990.

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26

Ascoltare il cinema: Studi sul suono nel film. Roma: Bulzoni editore, 2014.

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27

Scritti di cinema e di vita. Roma: Bulzoni, 2007.

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28

Il suono nel cinema: Storia, teoria e tecniche. Venezia: Marsilio, 2006.

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29

Beyond Dolby: Cinema in the digital sound age. Bloomington: Indiana University Press, 2010.

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30

Sound technology and the American cinema: Perception, representation, modernity. New York: Columbia University Press, 2000.

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31

Kerins, Mark. Beyond Dolby (stereo): Cinema in the digital sound age. Bloomington: Indiana University Press, 2010.

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32

The Turkish cinema in the early republican years. Beylerbeyi, Istanbul: Isis Press, 2007.

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33

Castant, Alexandre. Planètes sonores: Radiophonie, arts, cinéma. Blou: Monografik, 2007.

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34

Institut national d'histoire de l'art (France), ed. Archives et acteurs des cinémas d'animation en France. Paris: Harmattan, 2014.

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35

Philip, Brophy, and Australian Film, Television & Radio School., eds. Cinesonic: Cinema and the sound of music. North Ryde, N.S.W: Australian Film Television & Radio School, 2000.

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36

Corporation, United Artists, Warner Bros, Monogram Pictures Corporation, and Wisconsin Center for Film and Theater Research., eds. Cinema pressbooks from the original studio collections. Reading, Berks: Research Publications, 1988.

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37

author, Mariani Andrea 1985, ed. Effemeridi del film: Episodi di storia materiale del cinema italiano. Milano: Meltemi, 2019.

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38

Manuele, Cecconello, and Michelone Guido, eds. Coloriture: Voci, rumori, musiche nel cinema d'animazione. Bologna: Pendragon, 1995.

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39

Aural films, oral cultures: Essays on cinema : from the early sound era. Kolkata: Jadvapur University Press, 2012.

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40

Thierry, Millet, Université de Provence. Laboratoire d'études en sémiologie de l'image., Université de Montpellier. Groupe de recherche en information et communication., and Institut de l'image, eds. Analyse et réception des sons au cinéma. Paris: Harmattan, 2007.

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41

Cinema e letteratura: Incontri con gli autori. Milano, Italy: FrancoAngeli, 2008.

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42

Barnier, Martin. En route vers le parlant: Histoire d'une évolution technologique, économique et esthétique du cinéma (1926-1934). Liège: Editions du CEFAL, 2005.

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43

Salvucci, Loriano. Ivo Crocchi: Un maremmano gavorranese nella storia del cinema italiano. Arcidosso (GR): Effigi, 2020.

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44

Charles, Harpole, ed. History of the American cinema. New York: Scribner, 1990.

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45

Bond, Felicia, and Laura Joffe Numeroff. Souris, Tu Viens Au Cinéma? Scholastic Canada, Limited, 2014.

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46

Abel, Richard, and Charles (Rick) F. Altman. Sounds of Early Cinema. Indiana University Press, 2001.

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47

Connor, Steven. Sounding Out Film. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.027.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film sound has been recruited to theà voir, the ‘to-be-seen’in an appropriation of the audible into the visible. This chapter attempts to characterize the principles of excess represented by sound and to account for sound’s seeming unaccountability of in cinema. Vision fixes, but sound expands and dissolves. It is not natural to identify “points of audition” the same way that we naturally identify point of view. Where cinematic seeing is reflexive, cinema sound lacks this quality, because sound always seems added to film, suggesting that even the talking cinema remains deaf to its sounds. Vision is always framed and contained; film sound is not. Cinema sound is always bodily, but the body is always diffuse and intermittent. Cinematic vision is an order of correlation; sound implies the mutative commixture of substances. Sound is the warrant of cinema’s capacity to come to life, bringing to life anhors-corps, the body of a body-beyond-cinema.

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48

Sounds Like Helicopters: Classical Music in Modernist Cinema. State University of New York Press, 2019.

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49

elhariry, yasser, ed. Sounds Senses. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856882.001.0001.

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Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.

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50

Donnelly, K. J., and Ann-Kristin Wallengren. Today's Sounds for Yesterday's Films: Making Music for Silent Cinema. Palgrave Macmillan, 2016.

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