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Artículos de revistas sobre el tema "Sourds – Au cinéma"

Autor: Grafiati

Publicado: 25 de mayo de 2024

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1

Cellura, Thaïs. "Être aesh pour un étudiant sourd". Empan 132, n.º 4 (14 de diciembre de 2023): 50–57. http://dx.doi.org/10.3917/empa.132.0050.

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Un aesh doit s’adapter à l’étudiant ou l’enfant qu’il accompagne. Comment faire lorsque l’étudiant accompagné ne parle pas la même langue que ses professeurs et camarades ? Les étudiants sourds sont dans cette situation et nous soulignons ici l’importance de recruter des aesh connaissant la langue des signes et la culture sourde pour accompagner les Sourds. Spécialisée en langue des signes, j’ai accompagné un étudiant sourd en master de cinéma et témoigne de la nécessité de ma présence à ses côtés comme de l’absence de formation pour devenir aesh .

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2

Alberdi Urquizu, Carmen. "Between Missed and Denied, a Word in Search of Voice". L’Entre-deux et l’Imaginaire, n.º 37 (30 de junio de 2016): 151–63. http://dx.doi.org/10.35562/iris.1477.

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La transition, puisqu’il n’y eut point de coupure, du cinéma muet au parlant nous permet de retracer le parcours d’une parole filmique en quête de voix depuis ses origines. Cette voix, tantôt regrettée dans les films que Chion (1993) nomme « sourds » plutôt que « muets », tantôt rejetée sous le « 100 % parlant », erre encore à la surface de l’écran comme dans un entre-deux, à la recherche de la reconnaissance vis-à-vis de son double, l’image.

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3

Alberdi Urquizu, Carmen. "Between Missed and Denied, a Word in Search of Voice". L’Entre-deux et l’Imaginaire, n.º 37 (30 de junio de 2016): 151–63. http://dx.doi.org/10.35562/iris.1477.

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La transition, puisqu’il n’y eut point de coupure, du cinéma muet au parlant nous permet de retracer le parcours d’une parole filmique en quête de voix depuis ses origines. Cette voix, tantôt regrettée dans les films que Chion (1993) nomme « sourds » plutôt que « muets », tantôt rejetée sous le « 100 % parlant », erre encore à la surface de l’écran comme dans un entre-deux, à la recherche de la reconnaissance vis-à-vis de son double, l’image.

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4

Narváez, Isabel Cómitre y Esther Sedano Ruiz. "Sous-titrage créatif pour enfants sourds et malentendants : les contes au cinéma". Palimpsestes, n.º 32 (4 de febrero de 2019): 203–22. http://dx.doi.org/10.4000/palimpsestes.3635.

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5

Goldmark, Daniel. "The Sounds of Early Cinema (review)". Notes 59, n.º 1 (2002): 67–69. http://dx.doi.org/10.1353/not.2002.0123.

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6

Soares, Natália de Castro. "Relações sinestésicas entre imagem e som, entre cor e som e alguns exemplos no cinema silencioso". Revista Laika 2, n.º 3 (1 de junio de 2013): 164–84. http://dx.doi.org/10.11606/issn.2316-4077.v2i3p164-184.

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Color was very frequent in cinema since its beginning and the notion of synesthesia has always been important – not only for abstract films, but for cinema in general. This article discusses synesthetic relations between images and sounds in the cinema, taking as example the film Sunrise (F. W. Murnau, 1927). Then, we examine more specifically the association between colors and sounds and some of its reverberations in the field of moving images, commenting three experiments quite different from each other: the Corning kinetic-therapeutic experiment (1899), the Jenkins Phantascope (1895) and Loyd Jones kaleidoscope (1924) and Sonochrome (1929).

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7

Calabretto, Roberto. "The Soundscape in Michelangelo Antonioni's Cinema". New Soundtrack 8, n.º 1 (marzo de 2018): 1–19. http://dx.doi.org/10.3366/sound.2018.0113.

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8

Leduc, Véro. "Est-Ce Vraiment une Bande Dessinée? Langues des Signes, Déconstruction et Intermédialité". Canadian Journal of Disability Studies 8, n.º 1 (21 de febrero de 2019): 58–97. http://dx.doi.org/10.15353/cjds.v8i1.471.

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La bande dessinée est un medium pensé en 2D et souvent déployé sur papier (Falardeau, 2008). Comment en créer une en langue des signes québécoise (LSQ), cette langue tridimensionnelle (3D) dont la vidéo s’avère la meilleure forme d’écriture ? Une bande dessinée vidéo… est-ce encore une BD ? C’est tombé dans l’oreille d’une Sourde est une bande dessignée, néologisme créé pour désigner cette bande dessinée bilingue vidéographiée en langue des signes québécoise (LSQ) et en français. Produite à partir d’extraits de rencontres avec des personnes sourdes et des membres de ma famille entendante réalisées dans le cadre de ma thèse de recherche-création, elle propose diverses réflexions sur la sourditude (Ladd, 2005), ce concept qui englobe les diverses manières de vivre comme personnes sourdes et de réfléchir aux enjeux que cela soulève. Chassé-croisé entre écriture créative en français, citations thématiques en LSQ et extraits de ma thèse inédite, cette contribution propose une réflexion, dans une posture de déconstruction, sur la création signée (en langues des signes) et l’intermédialité, en prenant comme site particulier la production d’une BD en LSQ, une création aux confins de la bande dessinée, de la littérature et du cinéma. L’article aborde notamment un survol des systèmes d’écriture en langue des signes, une réflexion sur la déconstruction de la bande dessinée entendante et une exploration de l’intermédialité comme site d’agentivité. Si « l’écriture est la condition de l’epistémè » (Derrida, 1967), la recherche-création à travers les médias numériques favorise cette écriture signée nécessaire à la création de savoirs et de productions culturelles en langues des signes.

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9

Jr., Wenceslao Machado de Oliveira. "O que seriam as geografias de cinema?" Txt: Leituras Transdisciplinares de Telas e Textos 1, n.º 2 (31 de diciembre de 2005): 27. http://dx.doi.org/10.17851/1809-8150.1.2.27-33.

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<p><strong>Resumo</strong>: Este texto constitui-se de escritos que visam a apresentar uma proposta de pesquisa com as imagens e os sons do cinema, apontando para a criação de geografias oriundas do encontro entre os universos culturais de cada um de nós e as imagens e os sons de cada filme.</p><p><strong>Abstract</strong>: This text has as its objective to present a research proposal on the images and sounds of cinema, pointing towards the creation of geographies stemming from the encounter between each one's cultural universe and the images and sounds of films.</p><p><strong>Keywords</strong>: cinema; geography; research.</p>

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10

Karaduman, Arzu. "Crystal sounds in contemporary film and TV". Soundtrack, The 14, n.º 1 (1 de junio de 2023): 3–17. http://dx.doi.org/10.1386/ts_00018_1.

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At the core of Deleuze’s theorization of the time-image is the ‘crystal image’ that appears as a direct presentation of time in an indiscernibility of the actual and the present from the virtual in various forms. Lending his ears to cinema after the Second World War, Deleuze coins the term ‘sound-crystal’, but he neither sufficiently engages with it nor thinks about it beyond music. Turning to film sound scholarship or film philosophy is futile in a similar fashion. To address these gaps in Deleuze, film philosophy and sound in cinema, I listen carefully to a number of contemporary films and TV shows in which sound crystallization splits time in an indiscernibility of the perceived actual from the virtual sounds of recollections, dreams, hallucinations, fantasies and worlds. I argue that crystallization of sounds avoids an anthropocentric approach to understanding the relation between a sound and its source which cannot be claimed to ‘voice’ it.

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11

Jhingan, Shikha. "Backpacking Sounds". Feminist Media Histories 1, n.º 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.

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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with the material she has collected. Khanwalkar's collaborative approach to musical sound has challenged genre boundaries between film music and folk music on the one hand and the oral and the recorded on the other. Her radical intervention in sound and music brings together unexplored spatialities, voices, bodies, and machines by foregrounding the process of citation, recording, and digital reworking. Through an exploration of Khanwalkar's work, involving travel, mobility, and a prosthetic extension of the body through the microphone, the author brings into discussion emerging practices that have expanded the aural boundaries of the Bombay film song.

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12

Sonnenschein, David. "Sound Spheres: A Model of Psychoacoustic Space in Cinema". New Soundtrack 1, n.º 1 (marzo de 2011): 13–27. http://dx.doi.org/10.3366/sound.2011.0003.

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13

Elvemo, Johan-Magnus. "Spatial perception and diegesis in multi-channel surround cinema". New Soundtrack 3, n.º 1 (marzo de 2013): 31–44. http://dx.doi.org/10.3366/sound.2013.0034.

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14

Helmers, Maike. "Emil und die Detektive: Early German sound cinema aesthetic". New Soundtrack 4, n.º 1 (marzo de 2014): 41–57. http://dx.doi.org/10.3366/sound.2014.0051.

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15

Candusso, Damian. "Digital 3D and the Contemporary Soundtrack: Competing Cinema Spaces". New Soundtrack 6, n.º 1 (marzo de 2016): 63–76. http://dx.doi.org/10.3366/sound.2016.0083.

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16

Freedman, E. "The sounds of silence: Benjamin Fondane and the cinema". Screen 39, n.º 2 (1 de junio de 1998): 164–74. http://dx.doi.org/10.1093/screen/39.2.164.

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17

Yu, Emily. "Perspectives: Sounds of Cinema: What Do We Really Hear?" Journal of Popular Film and Television 31, n.º 2 (enero de 2003): 93–96. http://dx.doi.org/10.1080/01956050309603670.

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18

Rees, Charles. "Four Views of Cinema: Searching for Ways of Experiencing Films". New Soundtrack 1, n.º 1 (marzo de 2011): 73–87. http://dx.doi.org/10.3366/sound.2011.0007.

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19

Power, Dominic. "Brueghel's Cinema: Sound and Image in The Mill and the Cross". New Soundtrack 1, n.º 2 (septiembre de 2011): 147–56. http://dx.doi.org/10.3366/sound.2011.0016.

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20

Abadie, Karine. "Réfléchir au cinéma : plongée dans le numéro double des Cahiers du mois de 1925". Tangence, n.º 124 (23 de septiembre de 2021): 29–47. http://dx.doi.org/10.7202/1081686ar.

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Dans les années 1920, alors qu’en France le cinéma devient un divertissement et un mode de représentation de plus en plus populaire, des textes prenant différentes formes sont soumis à des magazines de cinéma, des revues littéraires, ou encore des journaux généralistes. Les écrivains participent au développement de ce discours en proposant des textes de réflexion, à cheval sur l’essai et sur la critique, fortement infléchis par les pratiques et les exigences journalistiques. Notre article s’interrogera sur la nature de ces textes, en examinant le numéro double de la revue Les Cahiers du mois, parus en 1925. Notre lecture nous permettra de repérer des points de croisement tant dans les réflexions que dans les formes et d’examiner les options privilégiées pour soutenir une diversité d’idées au sujet du cinéma.

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21

Davis, Blair. "Old Films, New Sounds: Screening Silent Cinema with Electronic Music". Canadian Journal of Film Studies 17, n.º 2 (octubre de 2008): 77–98. http://dx.doi.org/10.3138/cjfs.17.2.77.

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22

Anestis, Andreas G. y Christos A. Gousios. "How Cinema Sounds Affect the Perception of a Motion Picture". Universal Journal of Psychology 3, n.º 5 (septiembre de 2015): 147–52. http://dx.doi.org/10.13189/ujp.2015.030503.

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23

Lehnert, Sigrun. "Musik als Mittel der ›Propaganda‹ in der Filmberichterstattung 1950–1965 (West-Ost)". Kieler Beiträge zur Filmmusikforschung 17 (4 de septiembre de 2023): 31–60. http://dx.doi.org/10.59056/kbzf.2023.17.p31-60.

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Although the newsreel was only shown as a part of the interludes in the cinemas and thus represented a marginal part of the cinema evening, the producers and state institutions were convinced of its effect. Under the National Socialists, the newsreel served purely as a propaganda tool and the background music was designed to achieve this effect. But agitation was not the concern of the post-war newsreel – also in consideration of the generation of the audience that still hear the intrusive dramatising sounds of the Nazi newsreel ›in their ears‹. In the post-war period, the message had to be conveyed more subtly. Music in perfect harmony with montage and commentary lent itself to underlining political convictions or criticism and conveying ironic allusions. Unmelodic phrases and ›off-key‹ tones were enough, for example, to suggest that an action was illegitimate. Music was not only used to accompany images, but also to document, for example, performances by international jazz greats in the socialist state of the GDR. With music, the Iron Curtain seemed to become ›permeable‹.

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24

Chion, Michel. "False Reality in the Audio-Logo-Visual Sphere: on Science and Cinema". New Soundtrack 2, n.º 1 (marzo de 2012): 23–38. http://dx.doi.org/10.3366/sound.2012.0025.

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25

Chattopadhyay, Budhaditya. "The auditory spectacle: designing sound for the ‘dubbing era’ of Indian cinema". New Soundtrack 5, n.º 1 (marzo de 2015): 55–68. http://dx.doi.org/10.3366/sound.2015.0068.

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26

Belodubrovskaya, Maria. "A True Language of Cinema". Projections 17, n.º 1 (1 de marzo de 2023): 28–38. http://dx.doi.org/10.3167/proj.2023.170105.

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Abstract Since cinema communicates meanings through images and sounds, it has long been assumed that it possesses a language—a coded system of units and rules. Cinematic practice is infinitely varied, and it has proven difficult for film theory to pinpoint a language of cinema beyond the assertion that classical continuity codes cinematic illusion. The computational approach presented in James Cutting's Movies on Our Minds: The Evolution of Cinematic Engagement offers a promising new path toward defining a true language of cinema. It shows that mainstream narrative film uses a reliable set of measurable, evolving formal patterns to match the neuropsychological capacities of the average viewer. This article argues that the cinematic “code” Cutting identifies can be elaborated by specifying the minimal narrative unit.

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27

Patil, Sanjay Sitaram. "Use of Physical Concepts in Musical Instruments and their Use in Cinema". VEETHIKA-An International Interdisciplinary Research Journal 6, n.º 4 (27 de noviembre de 2020): 1–4. http://dx.doi.org/10.48001/veethika.2020.06.04.001.

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Cinema without music is now a days beyond imagination. Whatever musical instruments used in the making of Cinema are based on Physical Concepts. One of the concepts is frequency. Frequency is nothing but the number of vibrations per second. Different frequencies forms melodious compositions. There are many musical instruments like Pan flute, Sitar, Violin, Harmonium etc are all Physical Concepts dependent musical instruments. How Physical Concepts play important role in the making of such musical instruments is presented in this paper. Unwanted continuous disturbance due to vibrations in air is noise and composition disturbance of different frequencies called sound. Music is sound with a discrete structure. Noise is sound with a continuous structure. Music is composed of sounds with a fundamental frequency and overtones. Noise is composed of sounds with frequencies that range continuously in value from as low as you can hear to as high as you can hear — not necessarily at equal intensity

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28

Andrade, Pedro. "Transcultural Cinema debated in a Knowledge Network: postcolonial hybrid meanings within resistance cinema". Comunicação e Sociedade 29 (27 de junio de 2016): 395–411. http://dx.doi.org/10.17231/comsoc.29(2016).2427.

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This paper aims to present a Knowledge Network on Transcultural Communication, a work in progress organized in Archives, Knowledge Bases and Virtual Museums. One of its substantive parts, the Knowledge Node Transcultural Cinema, gathers knowledge and sources (Film Studies texts, photos, videos, etc.) about critical cinema and resistance cinema. This node articulates theories and postcolonial concepts to analysis/interpretations based on examples of film images and videos that include postcolonial representations. The “clash of civilizations” is a core idea underlying the debate on dissent and / or consensus among cultures and about postcolonialism. The dissimilarity between colonial / postcolonial societies and cultures, often takes the form of a “conflict of meanings.” And the discursive resistance against colonialism is often based on mobilizing hybridizations. Contemporary cultures are essentially “hybrid cultures”. Such hybrid nature is present in many images and sounds of resistance cinema, and it is urgent to emphasize its characteristics, for example central dichotomies transmitted by authors of this cinema genre: “colonizer / colonized,” “identity / difference,” “power / no power”. Resistance film audiences can see and criticize, in a participatory way, the worldviews and discourses shared by cinema imagination / activism in cinema, contributing to a common, global and critical culture / knowledge.

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29

Twomey, Robert y Michael McCrea. "Transforming the Commonplace through Machine Perception: Light Field Synthesis and Audio Feature Extraction in the Rover Project". Leonardo 50, n.º 4 (agosto de 2017): 400–408. http://dx.doi.org/10.1162/leon_a_01458.

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Rover is a mechatronic imaging device inserted into quotidian space, transforming the sights and sounds of the everyday through its peculiar modes of machine perception. Using computational light field photography and machine listening, it creates a kind of cinema following the logic of dreams: suspended but mobile, familiar yet infinitely variable in detail. Rover draws on diverse traditions of robotic exploration, landscape and still-life depiction, and audio field recording to create a hybrid form between photography and cinema. This paper describes the mechatronic, machine perception, and audio-visual synthesis techniques developed for the piece.

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30

Gimeno Ugalde, Esther. "Un cine con acento: Polifonía, multilingüismo y alteridad en el cine de Ventura Pons". Zeitschrift für Katalanistik 27 (1 de julio de 2014): 69–84. http://dx.doi.org/10.46586/zfk.2014.69-84.

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Summary: Taking as references the polyphony, multilingualism and the ample variety of voices and sounds in the cinema of Ventura Pons, this article aims to study his work from a new perspective enabling us to establish some parallelisms with the “accented cinema” (Naficy, 2001). The aim of this essay is to show how the multiple languages, accents and musics featured in his films become a prolific narrative and aesthetic resource, often linked to the representation of otherness. The analysis of some of Pons’ most recent films, among others Barcelona (un mapa) (2007) and Forasters (2008), will allow us to elucidate the extent to which polyphony constitutes a trademark in his work. [Keywords: Ventura Pons; Accented Cinema; polyphony; multilingualism; Barcelona; Catalan]

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31

Heinemann, David. "The Creative Voice: Free Indirect Speech in the Cinema of Rohmer and Bresson". New Soundtrack 2, n.º 1 (marzo de 2012): 39–49. http://dx.doi.org/10.3366/sound.2012.0024.

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32

Kytö, Meri. "Cultural Intimacy in the Practice of Sound Post-production in Turkish Yeşilçam Cinema". New Soundtrack 7, n.º 2 (septiembre de 2017): 153–63. http://dx.doi.org/10.3366/sound.2017.0106.

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33

Barnier, Martin. "Richard Abel et Rick Altman (dir.). The Sounds of Early Cinema". 1895, n.º 40 (1 de julio de 2003): 123–25. http://dx.doi.org/10.4000/1895.3542.

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Naiboglu, G. "Turkish German Cinema in the New Millennium: Sites, Sounds and Screens". Screen 56, n.º 2 (1 de junio de 2015): 286–89. http://dx.doi.org/10.1093/screen/hjv020.

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35

Yeh, Emilie Yueh-yu y Lake Wang Hu. "Transcultural Sounds: Music, Identity, and the Cinema of Wong Kar-wai". Asian Cinema 19, n.º 1 (1 de marzo de 2008): 32–46. http://dx.doi.org/10.1386/ac.19.1.32_1.

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36

De Breuker, Johannes. "Turkish German Cinema in the New Millennium: sites, sounds, and screens". Historical Journal of Film, Radio and Television 35, n.º 1 (2 de enero de 2015): 197–98. http://dx.doi.org/10.1080/01439685.2014.997521.

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37

CHATTERJEE, SOUMIK. "The Cinema of India". Dev Sanskriti Interdisciplinary International Journal 7 (31 de enero de 2016): 38–49. http://dx.doi.org/10.36018/dsiij.v7i0.74.

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With what outlook should one construct, analyze or dissect film theory? Should one view cinema as a medium of mass communication? Propaganda? Entertainment? Art? Or should cinema be considered a concoction of them all? In trying to formulate a film theory, dealing with all these elementary characteristics of cinema poses a serious problem. Gaston Roberge notes that – A theory of movies would tell us what a movie is, what it is made for, how it is created in images and sounds, and for whom it is made1. The questions respectively deal with the content of a movie, the validity of the content in terms of the prevailing socio-political circumstances, the form of the movie and the target audience of the movie. Now, obviously, it is required for Indian cinema to be able to provide at least a level of generalization in answering the aforementioned questions to be considered to have a theory of its own. The purpose of this article would be to investigate whether or not such a generalization (subsequently, a film theory) is possible for Indian cinema, and then to delve further to find out how much of that theory is rooted in our original outlook toward audio-visual art. Now obviously the span of one article does not allow analysis of every type of cinema produced in as cinema-crazy a country as ours, where almost every state has its own regional cinema, independent cinema, art-house cinema and recently, underground cinema. For the purpose of the present article, therefore, we would restrict ourselves to the popular Indian cinema, namely Bollywood productions that some critics coin as commercial or entertainment cinema

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38

ERÇETİN, Arzu y Tolga ERDEM. "1960-1970’LERDE BİLİMKURGU SİNEMASINDA MOBİLYA". Journal of Communication Science Researches 2, n.º 2 (1 de mayo de 2022): 64–83. http://dx.doi.org/10.7456/100202100/001.

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Cınema is a unique means of expression. Pictures and sounds are the elements of the language of cinema. One of the elements that support these elements is furniture, which is one of the working areas of the design concept. The cinema genre that is most intertwined with the design discipline is science fiction. In this research, the relationship between cinema and space is examined on the science fiction movies and series of 1960-70, when the theme of Space in the context of furniture was at its peak. Within the scope of the study, the effects of the furniture used on the spatial narratives in the science fiction movies and series in the 1960s and 1970s were examined by taking the Star Trek series and Star Wars movies into consideration. The aim of this study is to reveal how the concept of design, which is a multidimensional discipline, brings together different dimensions from cinema to product scale as a whole, and to create a resource for similar studies to be carried out.

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39

Skurativskyi, Vadym y Valerii Andriienko. "Specifics of Sound Effects in Feature Films". Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, n.º 2 (20 de octubre de 2023): 204–12. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289307.

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The purpose of the article is to analyze the specifics of sound effects used in feature films, to identify methods of using various variations of sounds in cinema, to clarify the process of creating sound effects and to trace the development of historical trends in the field of creating sounds for cinema, as well as to predict the specifics of sound effects development in feature films in the future. Research Methodology. The following methods were used: theoretical – to study sound effects in feature films, to study various scientific and practical recommendations for working with sound; empirical – to use the acquired knowledge through personal experience; analytical – to search for the interaction of sound with a person; analysis and synthesis, as well as the method of observation. Scientific novelty. For the first time, the specifics of sound effects in feature films have been studied using a retrospective view of the phenomenality of the object and its further progression, and the specifics of sound effects used in feature films have been analyzed. The study reveals specific aspects of the transformation of sound and sound effects through the use of different variations of sounds that can be used in feature films in the future. Conclusions. The article analyses the specifics of sound effects used in fiction films. The usage specificity of different variations of sounds has been determined, and the peculiarities of the sound effects creation process have been revealed using the method of observation and analytical conclusion. A unique role in the study was played by identifying the historical aspects of sound effects usage in feature films, which became possible by tracing the development of historical trends and directing the vector of the research field to the projection of the future.

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40

Paletz, Gabriel M. "Writing sound in the screenplay: Traditions and innovations". Soundtrack, The 15, n.º 1 (1 de noviembre de 2023): 61–75. http://dx.doi.org/10.1386/ts_00027_1.

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Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in past screenplays, sounds can again be written side by side in tandem with yet independently from images. Finally, the article makes original emendations to the classical master scene format for writing dominant sounds that fill a scene as well as indications for movie music. At a time when both film production and the screenplay itself are being transformed, this essay rejuvenates both film scholarship and practice by bridging historical traditions with practical innovations for screenwriting sound.

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41

Pigott, Michael. "Sounds of the Projection Box: Liner Notes for a Phonographic Method". Journal of British Cinema and Television 15, n.º 1 (enero de 2018): 27–45. http://dx.doi.org/10.3366/jbctv.2018.0400.

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In order to document, investigate and analyse the soundscape of the analogue projection box before it passes into history, a series of audio recordings was made within functioning boxes, a selection of which have been released as an ‘album’. The recordings, made in UK boxes that maintain both 35mm film projection and digital projection, also capture the shifting sonic texture of this environment as it changes from primarily analogue to primarily digital operation. This article explores the role of phonographic field recording as a practical methodology within a film historical research project that investigates the role of the film projectionist and cinematic projection throughout the history of cinema exhibition in the UK. It proposes a set of systematic principles for approaching the use of phonographic field recording in this context, and shows how they may be applied. Through an analysis of both the recordings themselves and the experience of making the recordings, it extracts some observations regarding the character, history and culture of the projection box as a lived environment and workplace. Just as cinema-goers seldom get to see inside this hidden room at the back of the auditorium, these sound recordings also reveal it to be a soundproofed box, a noisy environment in which the interface between operator and machine takes audible form, in which noise of one sort indicates smooth operation, while another sort indicates faults that need to be addressed. The article considers the legibility of noise and proposes that the relationship between projectionist and machine is significantly aural as well as visual and tactile.

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42

Silke, Martin. "Filmic Migration and Wandering Sounds: The Relation Between Accented and Dialect Cinema". Ekphrasis. Images, Cinema, Theory, Media 23, n.º 1 (3 de julio de 2020): 62–71. http://dx.doi.org/10.24193/ekphrasis.23.5.

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43

Weygandt, Susanna. "Revisitingskazin Ivan Vyrypaev’s cinema and theatre: rhythms and sounds of postdramatic rap". Studies in Russian and Soviet Cinema 12, n.º 3 (2 de septiembre de 2018): 195–214. http://dx.doi.org/10.1080/17503132.2018.1511260.

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44

LEYDON, REBECCA. "Review: The Sounds of Early Cinema, edited by Richard Abel, Rick Altman". Journal of the American Musicological Society 58, n.º 1 (2005): 226–32. http://dx.doi.org/10.1525/jams.2005.58.1.226.

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45

Merchant, Paul. "Rhetorics of Chilean Cinema (Pablo Corro, 2014)". Film Studies 16, n.º 1 (2017): 94–102. http://dx.doi.org/10.7227/fs.16.0008.

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Pablo Corro‘s 2014 book Retóricas del cine chileno (Rhetorics of Chilean Cinema) is a wide-ranging examination of the style and concerns that have come to characterise Chilean film-making from the 1950s to the present day. Corro demonstrates how ideas of national cinema are always to some extent dependent on transnational currents of cinematic ideas and techniques, as well as on local political contexts. The chapter presented here, Weak Poetics, adapts Gianni Vattimo‘s notion of weak thought to discuss the growing attention paid by Chilean films to the mundane, the everyday and the intimate. Corro‘s dense, allusive writing skilfully mirrors the films he describes, in which meaning is fragmented and dispersed into glimpsed appearances and acousmatic sounds. Corros historicisation of this fracturing of meaning allows the cinema of the everyday to be understood not as a retreat from politics, but as a recasting of the grounds on which it might occur.

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46

YOLCU, Pelin y Sedat ŞİMŞEK. "MISE EN SCENE FILM CRITICISM IN THE CONTEXT OF THE FILM WAITING FOR HEAVEN". JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, n.º 28 (28 de septiembre de 2021): 44–59. http://dx.doi.org/10.31623/iksad072804.

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It is a need to tell, to share the experience. A human being is an entity that tells stories and also needs stories. Myths and tales have explained the world to human beings when rational mind was not used and science was not developed yet. Myths are the first teachers of humanity, and tales have continued to form new narratives with new tools in the later ages. By the 20th century, humanity meets with a new storytelling tool. Apart from narrative films, cinema, although there are genres such as educational films, documentaries or news films, primarily undertook the mission of 'storytelling' and attracted the attention of the masses by telling stories. The paradoxical relationships and distance presented by the contemporary world to humanity are presented to the audience through sounds and images, and the audience tries to make sense of the existence of its environment and itself in a critical framework. Director and cinema question themselves in contemporary cinema narratives. The greatest innovation brought by contemporary cinema is hidden in the feature that leads the narrative to questioning activism. In the study, Derviş Zaim's, one of the most important directors of modern Turkish cinema, film Waiting for Heaven, was used as an example. The film was evaluated under the titles of technical structure, light, sound, time and space, actor, movement and performance, decor, costume and make-up in order to gain a qualitative understanding of the work. Keywords: Cinema, Movie Criticism, Derviş Zaim, Waiting For Heaven

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47

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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48

Strickland, Rachel, Eric Gould Bear y Jim McKee. "Walk-in Theater: Interaction Design for a Miniature Experience with Peripatetic Cinema". Leonardo 51, n.º 5 (octubre de 2018): 482–90. http://dx.doi.org/10.1162/leon_a_01333.

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Walk-in Theater is a portable virtual cinema for the display of spatially distributed multichannel movies (“walkies”). The miniature experience engages participants’ proprioceptors and spatial memory, allowing them to orient themselves as they navigate a field of scattered video streams and localized sounds reproduced on a handheld computing device. Departing from one-way linear cinema played on a single rectangular screen, this multichannel virtual environment pursues a cinematic paradigm that undoes habitual ways of framing things, employing architectural concepts in a polylinear-video polyphonic-sound construction to create a kind of experience that lets the world reveal itself and permits discovery on the part of beholders. Interaction design for Walk-in Theater supports approaches to cinematic construction that employ the ambulatory, multiple and simultaneous viewpoints that humans exercise in everyday life.

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49

Brian Yecies. "Sounds of Celluloid Dreams: Coming of the Talkies to Cinema in Colonial Korea". Korea Journal 48, n.º 1 (marzo de 2008): 160–97. http://dx.doi.org/10.25024/kj.2008.48.1.160.

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50

Mikheeva, Julia V. "Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics". Journal of Flm Arts and Film Studies 11, n.º 3 (13 de noviembre de 2019): 116–27. http://dx.doi.org/10.17816/vgik113116-127.

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The philosophical and aesthetic ideas of phenomenology have been present in cinema theory since the silent period. Methods of phenomenological theory can be found in the analysis of the visual aspects of films or the artistic style of their authors. The essay analyses signs of phenomenological thinking in the audiovisual aspects of films - a little studied but significant area of directorial aesthetics. Its theoretical and methodological foundation includes the phenomenology of Edmund Husserl and elements of phenomenological aesthetics in the works of Maurice Merleau-Ponty and Roman Ingarden. Taking the work of a significant representative of auteur cinema, the Austrian director Michael Haneke, the author explores cinematic variations of the concept of phenomenological reduction, the method of perfectly clear apprehension of the essence and the layered semantic structure of the film. Conclusions are drawn about the presence of typological signs of phenomenological thinking in the work of other filmmakers, such as Robert Bresson and Jean-Pierre and Luc Dardenne. Visually, this presence is expressed in the tendency towards asceticism and documentarism in the choice of artistic devices; towards the disclosure of cinematic phenomena (facts); and aurally, in the tendency to minimize off-screen music and get rid of the expressiveness in the actor's speech, towards greater semantic significance of intra-frame music, individual sounds, pauses and non-sounds.

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