Artículos de revistas: "Sound film"

1

Cumbow, Robert C. y William Johnson. "Film Sound". Film Quarterly 39, n.º 2 (diciembre de 1985): 64. http://dx.doi.org/10.2307/1212343.

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2

Cumbow, Robert C. y William Johnson. "Film Sound". Film Quarterly 39, n.º 2 (diciembre de 1985): 64. http://dx.doi.org/10.1525/fq.1985.39.2.04a00100.

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3

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, n.º 1 (15 de marzo de 2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.

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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.

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4

Langkjær, Birger. "Making fictions sound real - On film sound, perceptual realism and genre". MedieKultur: Journal of media and communication research 26, n.º 48 (17 de mayo de 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2115.

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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.

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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, n.º 1 (18 de junio de 2020): 147–66. http://dx.doi.org/10.5194/gc-3-147-2020.

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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.

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6

Baranowski, Andreas M., Rebecca Teichmann y Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions". Art and Perception 5, n.º 3 (10 de agosto de 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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7

REDFERN, NICK. "Sound in Horror Film Trailers". Music, Sound, and the Moving Image: Volume 14, Issue 1 14, n.º 1 (1 de julio de 2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.

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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.

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8

Booth, Gregory. "Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs". Popular Music 19, n.º 2 (abril de 2000): 125–45. http://dx.doi.org/10.1017/s0261143000000088.

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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.

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9

Corbella, Maurizio y Anna Katharina Windisch. "Sound Synthesis, Representation and Narrative Cinema in the Transition to Sound (1926-1935)". Cinémas 24, n.º 1 (26 de febrero de 2014): 59–81. http://dx.doi.org/10.7202/1023110ar.

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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.

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10

Prince, Stephen. ": Sound-on-Film: Interviews with Creators of Film Sound . Vincent LoBrutto." Film Quarterly 49, n.º 1 (octubre de 1995): 64. http://dx.doi.org/10.1525/fq.1995.49.1.04a00300.

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11

Hill, James W. y Eugene N. Finley. "Sound mixing system for film sound editing". Journal of the Acoustical Society of America 81, n.º 1 (enero de 1987): 211. http://dx.doi.org/10.1121/1.394977.

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MILLER, M. D. y E. KROTSCHECK. "THEORY OF THIRD SOUND AND STABILITY OF THIN 3He–4He SUPERFLUID FILMS". International Journal of Modern Physics B 21, n.º 13n14 (30 de mayo de 2007): 2091–102. http://dx.doi.org/10.1142/s021797920704349x.

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In this paper, we summarize the results of recent studies of third sound in thin, superfluid 3 He -4 He mixture films and the relation of the third sound spectrum to the question of the films' thermodynamic stability. We have considered films on several representative substrates: Nuclepore, glass, Li and Na . Our approach utilizes the variational, hypernetted chain/Euler-Lagrange (HNC–EL) theory as applied to inhomogeneous boson systems to calculate chemical potentials for both the 4 He superfluid film and the physisorbed 3 He . Numerical density derivatives of the chemical potentials lead to the sought-after third sound speeds. On all substrates, the third sound speeds show a series of oscillations as a function of film coverage that is driven by the layered structure of the 4 He film. We find that the effect on the third sound response of adding a small amount of 3 He to the 4 He film can depend sensitively on the particular 4 He film coverage. The third sound speed can either increase or decrease. In fact, in some regimes, the added 3 He destabilizes the film and can drive "layering transitions" leading to quite complicated geometric structures of the film in which the outermost layer consists of phase–separated regimes of 3 He and 4 He . Finally, we examine the range of applicability of the usual film–averaged hydrodynamic description. We find that at least up to film thicknesses of six liquid layers, there is no regime in which this hydrodynamic description is applicable.

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13

Efimova, Natalia Nikolaevna. "Sound Editing in Screen Works". Journal of Flm Arts and Film Studies 7, n.º 2 (15 de junio de 2015): 73–81. http://dx.doi.org/10.17816/vgik7273-81.

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The article pinpoints peculiarities of sound editing in movies basing on analysis of partitions of popular films of40-90s; the most frequent principles of sound track arrangement are examined for the first time. The stuff selection is conditioned by measure of popularity of screen works in question. Due to talent of such famous composers as I. Dunaevsky, S. Prokofiev, A. Khachaturian, A. Pakhmutova, A. Petrov et al and their ability to hear plastic imagery, to comprehend filmic atmosphere music plays an extremely important part in these films. Many songs from these films are still in circulation even now. Thorough sound design and editing are of great significance in film production. The author comes to conclusion, that rondo as a musical form and leit-motif as a principle of musical stuff development form a dominant principle of sound stuff arrangement. The two fundamentally tighten the structure of the film. Since original music affords to accentuate sound effects in the most adequate way, it seems perfect to call to a composer for creating original music. The author assumes, that the choice of sound arrangement principle in cinema depends on deliberate conception of the film, wrought out by the helmer, composer, and supervising sound editor. The screen works property is closely bound with attentive partition editing.

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14

Altman, Rick. "Establishing Sound". Cinémas 24, n.º 1 (26 de febrero de 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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15

Tieber, Claus y Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema". Soundtrack 12, n.º 1 (1 de noviembre de 2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.

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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.

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16

Bell, Desmond. "Sound, music and film – towards a total sonic fabric". New Soundtrack 5, n.º 1 (marzo de 2015): 69–85. http://dx.doi.org/10.3366/sound.2015.0069.

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17

Koneva, Maria Nikolayevna. "Planning Element as a Narrative Method in Moulding of Audiovisual Imagery in Documentaries". Journal of Flm Arts and Film Studies 6, n.º 3 (15 de septiembre de 2014): 126–33. http://dx.doi.org/10.17816/vgik63126-133.

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The article is devoted to the artistic relevance of sound design as one of the most significant elements of film, specifically, in documentary. The author explores the phenomenon emerging at the interface of various genres and tendencies in film art focusing mainly on the auteurs conception realized through such notions as sound scale, depth and prominence of soundy.

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18

Griffith, Frank y David Machin. "Communicating the ideas and attitudes of spying in film music: A social semiotic approach". Sign Systems Studies 42, n.º 1 (26 de mayo de 2014): 72–97. http://dx.doi.org/10.12697/sss.2014.42.1.04.

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Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Following other scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how we can draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe the semiotic resources available to composers to allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying.

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19

Avidad, Andrea. "Deadly Barks: Acousmaticity and Post-Animality in Lucrecia Martel's La ciénaga". Film-Philosophy 24, n.º 2 (junio de 2020): 222–40. http://dx.doi.org/10.3366/film.2020.0140.

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Acousmatic sound is often defined as a sound whose source is unseen, that is, in terms of a separation between the senses of hearing and seeing. Discussions about the acousmatic have generally focused on the ontological relation between the sonic effect and the visually unavailable source that produces it. This article examines the function of acousmatic sound in Argentine auteur Lucrecia Martel's La ciénaga ( The Swamp, 2001), arguing that the film's distinctive employment of acousmatic sound and acousmatic listening constitutes a strategy of disruption, challenging the traditional concept of the “animal” – an ideological and oppressive notion produced by dominant Western philosophical discourse. My reading gives close attention to what seems to be the barking of an unseen dog and its effects on human listeners, contending that, as the semiotic stability of the figure of the dog gradually erodes within Martel's cinematic territory, listening to the canine voice becomes an unsettling sensory-cognitive experience; the sound of the barks presents an irresolvable epistemic problem. I draw on Jacques Derrida's late writings on nonhuman animals, borrowing the term animot, to argue that Martel's film brings into audibility an animality irreducible plural: an alterity exceeding logocentric economies of knowledge. The film's experimental aesthetics and construction of narrative, I suggest, are concerned with perceiving and making perception itself perceptible, while exposing the limits of human perception – impassable limits marked by an animality which gradually withstands conceptual domestication. Through its use of acousmatic listening, La ciénaga expands our perception of ecological ontology.

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20

Tatnell, David M., Mark S. Heath, Steven P. Hepplestone, Alastair P. Hibbins, Samuel M. Hornett, Simon A. R. Horsley y David W. Horsell. "Coupling and confinement of current in thermoacoustic phased arrays". Science Advances 6, n.º 27 (julio de 2020): eabb2752. http://dx.doi.org/10.1126/sciadv.abb2752.

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When a medium is rapidly heated and cooled, heat transfers to its surroundings as sound. A controllable source of this sound is realized through joule heating of thin, conductive films by an alternating current. Here, we show that arrays of these sources generate sound unique to this mechanism. From the sound alone, we spatially resolve current flow by varying the film geometry and electrical phase. Confinement concentrates heat to such a degree that the film properties become largely irrelevant. Electrical coupling between sources creates its own distinctive sound that depends on the current flow direction, making it unusually sensitive to the interactions of multiple currents sharing the same space. By controlling the flow, a full phased array can be created from just a single film.

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21

Prince, Stephen. "Review: Sound-on-Film: Interviews with Creators of Film Sound by Vincent LoBrutto". Film Quarterly 49, n.º 1 (1995): 64. http://dx.doi.org/10.2307/1213516.

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22

Donaldson, Lucy Fife. "Feeling and Filmmaking: The Design and Affect of Film Sound". New Soundtrack 7, n.º 1 (marzo de 2017): 31–46. http://dx.doi.org/10.3366/sound.2017.0095.

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23

Rusinova, Elena A. "Sound as a Sign and Artistic Symbol in Film". Journal of Flm Arts and Film Studies 10, n.º 3 (15 de septiembre de 2018): 19–33. http://dx.doi.org/10.17816/vgik10319-33.

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The article searches into the significant and symbolic aspects of sound in creating the films audiovisual image. A system of sound meanings and the ways of their embodiment in film direction in view of the historic and esthetical stages of mastering sound in cinema is presented. The author argues that the necessity to turn to sound symbolism arises not so much from the story as from the directors inner desire and is based on his esthetics, cultural experience and worldview.

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24

MacDonald, Shana. "Voicing Dissonance". Feminist Media Histories 1, n.º 4 (2015): 89–107. http://dx.doi.org/10.1525/fmh.2015.1.4.89.

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This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarized landscapes out of domestic spaces commonly overcoded by gendered systems of representation, including the kitchen, the home, and the garden. Furthermore, each film offered alternative forms for articulating women's subjectivity that challenged the roles made available to them during the 1960s. Through close readings of Wieland's film Water Sark (1965), Schneemann's film Plumb Line (1968–71), and Nelson's film My Name Is Oona (1969), the article demonstrates how each artist advanced a critical politics through sound-image dissonance.

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25

Tan, Siu-Lan. "Investigating Sound Design in Film: A Commentary on Kock and Louven". Empirical Musicology Review 13, n.º 3-4 (18 de abril de 2019): 149. http://dx.doi.org/10.18061/emr.v13i3-4.6723.

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Kock and Louven (in this issue) examined the effects of music, sound effects, full sound design (music and sound effects) and no sound on self-reported measures of immersion and suspense in real time, as viewers watched very brief original films. This commentary discusses the method, analysis, and implications of their findings within the broader context of the state of the art of film music research, and future directions for investigations in this area.

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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, n.º 2 (abril de 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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Branigan, Edward. "Sound and Epistemology in Film". Journal of Aesthetics and Art Criticism 47, n.º 4 (1989): 311. http://dx.doi.org/10.2307/431131.

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d’Escriván, Julio. "Sound Art (?) on/in Film". Organised Sound 14, n.º 01 (26 de marzo de 2009): 65. http://dx.doi.org/10.1017/s1355771809000090.

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Flinn, Carol. "Film sound comes of age". Quarterly Review of Film and Video 11, n.º 4 (diciembre de 1989): 83–87. http://dx.doi.org/10.1080/10509209009361329.

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30

Rwafa, Urther. "Sound and polysemy in film". Muziki 5, n.º 1 (julio de 2008): 152–59. http://dx.doi.org/10.1080/18125980802671441.

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31

Churcher, Mel. "Sound Speed: Voice on Film". Voice and Speech Review 3, n.º 1 (enero de 2003): 50–53. http://dx.doi.org/10.1080/23268263.2003.10739377.

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BRANIGAN, EDWARD. "Sound and Epistemology in Film". Journal of Aesthetics and Art Criticism 47, n.º 4 (1 de septiembre de 1989): 311–24. http://dx.doi.org/10.1111/1540_6245.jaac47.4.0311.

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Liz Czach. "The Sound of Amateur Film". Film History 30, n.º 3 (2018): 75. http://dx.doi.org/10.2979/filmhistory.30.3.04.

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Johnston, Nessa. "Beneath sci-fi sound". Alphaville: Journal of Film and Screen Media, n.º 3 (8 de agosto de 2012): 49–63. http://dx.doi.org/10.33178/alpha.3.04.

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Primer is a very low budget science-fiction film that deals with the subject of time travel; however, it looks and sounds quite distinctively different from other films associated with the genre. While Hollywood blockbuster sci-fi relies on “sound spectacle” as a key attraction, in contrast Primer sounds “lo-fi” and screen-centred, mixed to two channel stereo rather than the now industry-standard 5.1 surround sound. Although this is partly a consequence of the economics of its production, the aesthetic approach to the soundtrack is what makes Primer formally distinctive. Including a brief exploration of the role of sound design in science-fiction cinema more broadly, I analyse aspects of Primer’s soundtrack and sound-image relations to demonstrate how the soundplays around with time rather than space, substituting the spatial playfulness of big-budget Hollywood sci-fi blockbuster sound with temporal playfulness, in keeping with its time-travel theme. I argue that Primer’s aesthetic approach to the soundtrack is “anti-spectacle”, working with its mise-en-scène to emphasise the mundane and everyday instead of the fantastical, in an attempt to lend credibility and “realism” to its time-travel conceit. Finally, with reference to scholarship on American independent cinema, I will demonstrate how Primer’s stylistic approach to the soundtrack is configured as a marketable identifier of its “indie”-ness.

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35

Abbate, Carolyn. "Sound Object Lessons". Journal of the American Musicological Society 69, n.º 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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36

Plewa, Elżbieta. "Polskie tłumaczenie napisowe w 1930 roku". Między Oryginałem a Przekładem 25, n.º 44 (15 de junio de 2019): 59–72. http://dx.doi.org/10.12797/moap.25.2019.44.03.

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Polish Subtitling in 1930 Film subtitle translation, contrary to frequently quoted opinions, did not start with the introduction of sound in films, which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, captions were a tried and tested way of delivering content to the viewer. And these silent movie captions were translated. Copies of various foreign films with Polish subtitles have even been preserved instead of the ones with the original wording. Imitating subtitles for silent films, another form of film translation began to appear in films with sound and dialogue. These were the so-called intertitles. The next way of presenting foreign content was a subtitle, which began modern film subtitling. This article concerns film subtitle translation typical of films in Poland in 1930. It endeavours to show the development of Polish film subtitle translation in its initial phase. The article contains previously unpublished pictures of film subtitles from the discussed period, which come from original archival research.

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37

KROTSCHECK, E. y M. D. MILLER. "GENERIC ELECTRON MOBILITY IN SURFACE STATES ON HELIUM FILMS". International Journal of Modern Physics B 21, n.º 13n14 (30 de mayo de 2007): 2103–14. http://dx.doi.org/10.1142/s0217979207043506.

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We study the mobility of electrons adsorbed to thin 4 He films. Utilizing the time-dependent version of the Euler-Lagrange, hypernetted chain variational theory, we compute the inelastic scattering rate of an electron due to collisions with film excitations (third sound). We obtain an analytic result valid in the long wavelength limit. In agreement with experiment, the mobility shows oscillations due to the underlying transverse film structure. The oscillations are explicitly due to the appearance of the third sound speed in the scattering rate since the third sound speed itself oscillates in conjunction with the 4 He film structure. The mobilities tend to be higher than reported mobilities on thin films, which we attribute to substrate structure. We interpret our results as generic mobilities that are valid in the limit of perfectly smooth, structureless substrates.

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38

McCartney, Andra. "Alien intimacies: hearing science fiction narratives in Hildegard Westerkamp's Cricket Voice (or ‘I don't like the country, the crickets make me nervous’)". Organised Sound 7, n.º 1 (abril de 2002): 45–49. http://dx.doi.org/10.1017/s1355771802001073.

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This paper discusses listener responses to a contemporary soundscape composition based on the sound of a cricket. Soundscape composers make works based on everyday sounds and sound environments, usually recorded by themselves (Truax 1984, 1996). While the composer of this piece aims to bring listeners closer to the sounds around them by creating audio pieces based on these sounds (Westerkamp 1988), some listeners feel fear and anxiety rather than the heightened closeness and understanding that she wishes listeners to experience. I compare the sound structure of Cricket Voice with close listening to excerpts of the film soundtrack of Ridley Scott's Alien as well as a short excerpt from the soundtrack of the X Files, discussing how science fiction film and television soundtracks index sonic intimacy with different intent from that of Westerkamp, and raising questions about how such approaches to intimacy might simultaneously reflect and intensify urban anxieties about the sounds of ‘alien’ species that are associated with wilderness environments.

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39

Animbom Ngong, Paul. "Music and sound in documentary film communication: an exploration of Une Affaire de Nègres and Chef!" CINEJ Cinema Journal 8, n.º 1 (11 de marzo de 2020): 156–84. http://dx.doi.org/10.5195/cinej.2020.265.

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This paper examines the function of music and sound as important elements of documentary film communication. It considers the soundtrack to have equal value as the visual track. This is even more appalling when sound is viewed as an aesthetic constituent of a film or as acoustic signs with equal communicative value as visual signs. Two films are used to show the role music and sound play in facilitating comprehension in a documentary film. Focusing particularly on testimonies, narrative commentary, filmic silence and music, the study shows how documentary films provide a unique medium to engage an audience in a story of facts and provides a unique vehicle for information transmission. The success of these two films among mainstream audiences indicates the power of a thoughtful and intentional soundtrack which accentuates the subject without dictating it and provides examples of a utilisation of music to build an emotional connection between the audience and the film’s subject matter.

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40

Benson-Allott, Caetlin. "Listening to Metal". Film Quarterly 74, n.º 4 (2021): 62–67. http://dx.doi.org/10.1525/fq.2021.74.4.62.

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Darius Marder’s Sound of Metal (2020) is a film about many things: severe hearing loss, grief, community, and sound itself. These themes cohere through its narrative but find even fuller expression in the film’s sound design, as FQ columnist Benson-Allott argues in this article. Unlike most films with Deaf or deafened protagonists, Sound of Metal makes frequent use of subjective sound mixes that represent the protagonist’s sonic perceptions. By contrasting subjective and hearing-normative sound in their design, Marder and sound supervisor Nicolas Becker demonstrate how sound’s power exceeds its auditory range and social uses in hearing culture. They show their audience that, as neglected as sound may be in contemporary film culture, it still contains cultural biases that audiences must learn to hear. In doing so, they encourage viewers to reconceptualize themselves as auditors and reappraise sound’s role in their personal cinephilia and within the cinematic experience more broadly.

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41

Mollaghan, Aimee. "An audio-visual Gallivant: Psychogeographical soundscapes in the films of Andrew Ktting". Soundtrack 3, n.º 2 (1 de diciembre de 2010): 125–30. http://dx.doi.org/10.1386/st.3.2.125_1.

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Andrew Ktting is one of the most innovative film-makers working in Britain today, using his distinctive Punk multimedia aesthetic to circumvent not only the conventions of narrative cinema, but also the conventions of experimental film and fine art. One of Ktting's enduring concerns is the psychogeographical use of landscape and soundscape as a catalyst for arresting and inventive investigations into memory and identity. Composer R. Murray Schafer uses the word soundscape to identify sound that describes an environment, actual or abstract, but always a sound relevant to a place (Schafer 1994). The sounds of our environment have a powerful effect on our imaginations and memories and Ktting exploits this effect across his body of work. The use of the disembodied voice is another marked feature of Ktting's films, creating both implied narratives and the evocation of memory. Ktting's bodiless voices have a schizophonic quality to them. Kotting rips sounds and voices from their sources and imbues them with an independent existence that is at liberty to emanate from anywhere in the landscape. This article investigates Ktting's idiosyncratic creation of soundscapes as a filmic reproduction of the human psyche, exploring memory, identity and community through an interweaving of voice, music and environmental sound.

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42

Hallock, R. B. "Third sound and 3He–4He mixture films". Canadian Journal of Physics 65, n.º 11 (1 de noviembre de 1987): 1517–24. http://dx.doi.org/10.1139/p87-242.

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The fundamental ideas of third sound are surveyed, and the historical importance of third sound as a technique for the investigation of helium-film systems is emphasized through the discussion of several examples. The desire to study 3He–4He mixture films has led to the development of new methods for detecting third sound and these are discussed. We then describe some of the interesting properties of 3He–4He mixture films that have been discovered by third-sound techniques and by recent preliminary third-sound and nuclear magnetic resonance investigations of the mixture films conducted in this laboratory.

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43

Ding, Yi, Jun Hong Su y Hai Feng Liang. "Acoustic Method of Detection of Optical Thin Films Damage". Advanced Materials Research 301-303 (julio de 2011): 965–69. http://dx.doi.org/10.4028/www.scientific.net/amr.301-303.965.

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Laser damage threshold of optical thin film is a critical parameter in measuring laser induced damage. The key to testing damage threshold is judging the injury incident accurately. It has been found that when high-energy laser on the film, there will be sounds generated. In the present paper, acoustic method was applied to determine thin films damage. A brief analysis will be given on feasibility of acoustic method in judging thin films damage. Acoustic acquisition system will be established. In the experiment, we will average laser energy into 10 grades, each grade test 10 points. The sound wave of each point will be record. At the same time, we use image method judge damage of the thin films and record the result. By studying the sound waves of the thin films in different laser energy，it is easy to judge whether the optical films is damaged. The measured result is compared with image method. Both of them have a preferable consistency. The analysis shows that the acoustic method can be used effectively to determine laser-induced damage and it can be used in online inspection conveniently.

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44

Smith, Kate Bolgar. "‘Ghosts of Songs’: The Haunting Soundtracks of the Black Audio Film Collective". New Soundtrack 5, n.º 2 (septiembre de 2015): 89–101. http://dx.doi.org/10.3366/sound.2015.0072.

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45

Loeb, Jacqueline. "Dissonance Rising: Subversive Sound in Zhang Yimou's Raise the Red Lantern". Film-Philosophy 15, n.º 1 (febrero de 2011): 204–19. http://dx.doi.org/10.3366/film.2011.0011.

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46

Blumstein, Daniel T., Richard Davitian y Peter D. Kaye. "Do film soundtracks contain nonlinear analogues to influence emotion?" Biology Letters 6, n.º 6 (26 de mayo de 2010): 751–54. http://dx.doi.org/10.1098/rsbl.2010.0333.

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A variety of vertebrates produce nonlinear vocalizations when they are under duress. By their very nature, vocalizations containing nonlinearities may sound harsh and are somewhat unpredictable; observations that are consistent with them being particularly evocative to those hearing them. We tested the hypothesis that humans capitalize on this seemingly widespread vertebrate response by creating nonlinear analogues in film soundtracks to evoke particular emotions. We used lists of highly regarded films to generate a set of highly ranked action/adventure, dramatic, horror and war films. We then scored the presence of a variety of nonlinear analogues in these film soundtracks. Dramatic films suppressed noise of all types, contained more abrupt frequency transitions and musical sidebands, and fewer noisy screams than expected. Horror films suppressed abrupt frequency transitions and musical sidebands, but had more non-musical sidebands, and noisy screams than expected. Adventure films had more male screams than expected. Together, our results suggest that film-makers manipulate sounds to create nonlinear analogues in order to manipulate our emotional responses.

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47

Breslavets, G. "Artistic reconstruction of the folklore text in the works of Yu. Illienko (on the example of a film-apologue “A well for the thirsty ones”)". Culture of Ukraine, n.º 72 (23 de junio de 2021): 71–75. http://dx.doi.org/10.31516/2410-5325.072.10.

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The topicality. The factors that influence the disclosure nature of the director’s and composer’s creative concept are the leading artistic polystylistic tendencies — stylistic layers and trailblazing experiments in the formation of sound-timbre and visualized combinations, where ancient intonations together with modern sound formation and video performance create new sound and performance realities. The purpose. To determine the role of artistic reconstruction of the folklore text and the specifics of their artistic embodiment in the film parable “A well for the thirsty ones” by the popular Ukrainian film director Yu. Illienko; to determine the specifics of the embodiment of the signs of cultural codes in the musical-sound score of the film by composer L. Hrabovskyi. The methodology. The culturological approach applied in revealing the issues of the article made it possible to consider the peculiarities of the drama and musical-sound score of Yu. Illienko’s film “A well for the thirsty ones” in a broad cultural context. The interpretive approach helped to highlight the importance of cultural codes of the folklore text, the specifics of their embodiment in the director’s idea through the artistic reconstruction of the folklore text. The results. Yu. Illienko and L. Hrabovskyi, addressing the folk song tradition, create a new intonation world, embodied in separate “emergings” of female solo singing (verses of the ballad one by one are strung like beads throughout the picture), in lamentations, in incantations, in children’s amusements when playing on pots, that intersperse with a general, very concise and minimalist sound score of the film. The characteristic and figural semantics of the musical-sound background of the film is saturated with active rhythmics, complex sound palette of combination of electronic sounds with natural ones, which demonstrates the author’s (at the choice of director and composer) special sound complex. Folklore texts in the film create a single hypertext, which is manifested at the appropriate levels — auditory, visual and dramatic. The novelty. The article considers for the first time the specifics of the embodiment of artistic reconstruction of a folklore text as the basis of the drama of Yu. Illienko’s film “A well for the thirsty ones” and defines sense forming and semantic role of the embodiment of the cultural codes signs in the musical-sound score of the film by composer L. Hrabovskyi. The practical significance. The artistic reconstruction of the folklore text in the film is based on the introduction of polystylistic tendencies and features of sound (timbre) thinking into the cinematographic process. Prospects for further study of this issue is the study of modern manifestations of artistic reconstruction of the folklore text, the processes of formation of semiotic space both in cinema and in culture in general.

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48

Lewis, Hannah. "The singing film star in early French sound cinema". Soundtrack 12, n.º 1 (1 de noviembre de 2020): 21–37. http://dx.doi.org/10.1386/ts_00010_1.

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In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star’s stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France.

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49

Hoar, Peter. "“A Lucid lecturess”: The Voices of New Zealand’s Silent Cinema". Back Story Journal of New Zealand Art, Media & Design History, n.º 1 (1 de diciembre de 2016): 81–96. http://dx.doi.org/10.24135/backstory.vi1.14.

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This article attempts to record some of the faint echoes left from the days of silent cinema in New Zealand. Sound has been an integral part of cinematic experience in New Zealand since the very first exhibitions during 1895 but the acoustic dimension of film has been little explored by local historians and media scholars. Cinema audiences listened as much as they watched and these sounds were generated by many sources from gramophones to orchestras. This article concentrates on just one aspect of this richly polyphonic cinematic soundscape: the human voice. Through a discussion of the ways in which lecturers, actors, and audiences used their voices as films were played, this article recovers important aspects of how films were experienced in New Zealand before the arrival of synchronised sound and pictures during the late 1920s.

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50

Wingfield, Nancy Meriwether. "When Film Became National:“Talkies” and the Anti-German Demonstrations of 1930 in Prague". Austrian History Yearbook 29, n.º 1 (enero de 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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