Relevant bibliographies by topics / Cinema - Sound effects

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cinema - Sound effects'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Cinema - Sound effects"

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Rusinova, Elena A., and Elizaveta M. Habchuk. "The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 92–105. http://dx.doi.org/10.17816/vgik10192-105.

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For a long time, Japanese cinema has been developing separately, mastering the specifics of the new art, which came from the West, and at the same time trying to solve within its framework the problem of "national identity". However, since the 1950s, Japanese cinema has become widely known abroad and is gaining recognition in the West. The present day no one doubts the huge contribution of Japanese filmmakers to the history of world cinema. Nevertheless, the study of Japanese cinema in Russian cinema theory still remains the prerogative of a few professionals who know the Japanese language and
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Toropova, Anna. "Science, Medicine and the Creation of a ‘Healthy’ Soviet Cinema." Journal of Contemporary History 55, no. 1 (2019): 3–28. http://dx.doi.org/10.1177/0022009418820111.

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Cinema had long been hailed by Bolshevik party leaders as a crucial ally of the Soviet mass enlightenment project. By the mid-1920s, however, Soviet psychologists, educators and practitioners of ‘child science’ (pedology) were pointing to the grave effects that the consumption of commercial cinema was exerting on the physical, mental and moral health of Soviet young people. Diagnosing an epidemic of ‘film mania’, specialists battled to curtail the NEP-era practices of film production and demonstration that had rendered cinema ‘toxic’ to children. Campaigns to ‘healthify’ Soviet cinema, first m
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Rusinova, Elena. "Sergei Eisenstein’s Ideas in the Context of Contemporary Cinema. Stereo Film and Stereo Sound." Journal of Flm Arts and Film Studies 11, no. 4 (2019): 25–32. http://dx.doi.org/10.17816/vgik11425-32.

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The text (continuation of the article Vestnik VGIK, No. 3 (41), 2019). deals with the ideas of S.M. Eisenstein, presented by him in the theoretical work On Stereoscopic Films, in the context of the subsequent development of cinema phonography and modern scientific and theoretical discussions on the problems of correlation of technological and aesthetic aspects of cinema art. Eisensteins article focuses on and analyzes new and controversial technical achievements of cinema, but the authors thoughts reach a high level of understanding the history and prospects of the development of cinema and ar
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Mikheyeva, Yulia Vsevolodovna. "Reflection as an Audiovisual Form of Thinking in Alexander Sokurov's Work." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 70–81. http://dx.doi.org/10.17816/vgik7170-81.

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The article is devoted to the sound in a film for the purposes of understanding a director's aesthetics in auteur cinema. The questions - What does a sound create in a film? How does it do it? - become the problem of understanding why the sound is used in a film in a certain way. The issue is discussed through the example of Alexander Sokurov's film The Lonely Voice of Man. The author attempts to appraise the significance of sound effects, voice and music as an essential component of screen embodiment of director's existential reflection.
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Høier, Svein. "Surrounded by Ear Candy?" Nordicom Review 35, s1 (2020): 251–62. http://dx.doi.org/10.2478/nor-2014-0116.

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AbstractThis article looks at surround sound in contemporary cinema, with the aim of discussing practices of sound design and, more particularly, pinpointing a ‘best practice’ of surround sound today – focusing here on the practices in the US. The empirical starting point for the analysis is a study of ten Oscar-nominated movies, analysing their soundtracks and especially comparing their stereo and surround versions. The method can be described as a ‘directional’ listening mode, analysing how the different channels and speakers are used when presenting sonic elements like voices, music, atmosp
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Trippett, David. "Facing Digital Realities: Where Media Do Not Mix." Cambridge Opera Journal 26, no. 1 (2014): 41–64. http://dx.doi.org/10.1017/s0954586713000311.

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AbstractWagner’s vaunted model of artistic synthesis persists in scholarly assessments of his work. But at its centre, the composer argued that the media of voice and orchestra do not mix: they retain their identities as separate channels of sound that can neither duplicate nor substitute for one another. Taking as a starting point Wagner’s claims for the non-adaptability of media, this article addresses the adaptation of Wagner’s music to the modern digital technologies of HD cinema and video game. Drawing on a wide circle of writers, from Schiller and Žižek to Bakhtin, Augé, Baudrillard and
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Efimova, Natalia Nikolaevna. "Sound Editing in Screen Works." Journal of Flm Arts and Film Studies 7, no. 2 (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 circulati
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Brownrigg, Mark, and Peter Meech. "From fanfare to funfair: the changing sound world of UK television idents." Popular Music 21, no. 3 (2002): 345–55. http://dx.doi.org/10.1017/s0261143002002222.

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Identifying a television channel on-air has become increasingly important in the multi-channel age. For viewers it is a navigational necessity; for broadcasting executives it contributes to corporate branding. But despite the fact that television is an audiovisual medium, the so-called channel idents which appear between programmes are almost always discussed in terms of their visual rather than their audio characteristics. This article aims to go some way to correct this imbalance in arguing that the latter have evolved in a distinctive manner. Initially borrowing the idea of the fanfare from
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Vincze, Teréz. "The Phenomenology of Trauma. Sound and Haptic Sensuality in Son of Saul." Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (2016): 107–26. http://dx.doi.org/10.1515/ausfm-2016-0017.

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Abstract The winner of many prestigious prizes (Oscar for the best foreign language film, Grand Prize of the Cannes Film Festival, and the Golden Globe among them), the Hungarian film, Son of Saul – according to most critics – represents the Holocaust trauma in a completely new and intriguing way. The filmmakers have invented a special form in order to tackle the heroic task of showing the unwatchable, representing the unthinkable. In this essay I analyse the representational strategy of the film from a phenomenological point of view, and position it in the theoretical framework of haptic sens
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Milner, Johnny. "Australian Gothic Soundscapes: The Proposition." Media International Australia 148, no. 1 (2013): 94–106. http://dx.doi.org/10.1177/1329878x1314800111.

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While recent studies demonstrate a significant increase in the level of interest in the soundtracks of Australian cinema, very little attention has focused on the way soundtracks can convey the ‘gothic’ within an outback-cinematic context. This article attempts to begin to address this issue by providing a close reading of the Australian gothic Western The Proposition – looking specifically to its sonic dimensions, namely the amalgam of score, dialogue and sound effects. The article argues that the film's soundtrack draws from a range of Australian literary and cinematic tropes, and draws spec
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Dissertations / Theses on the topic "Cinema - Sound effects"

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Ceretta, Fernanda Manzo. "O design de som de monstros do cinema: uma cartografia dos processos de criação de identidades sonoras na construção de personagens." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21201.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-04T12:24:09Z No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5)<br>Made available in DSpace on 2018-07-04T12:24:09Z (GMT). No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5) Previous issue date: 2018-06-26<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>This research analyzes the sound design of movie monsters, especially their voices. Chewbacca (Star Wars, 1977), G
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Schweitzer, Dennis Christopher. "Ton & Traum : A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1108483481.

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PALLONE, Grégory. "DILATATION ET TRANSPOSITION SOUS CONTRAINTES PERCEPTIVES DES SIGNAUX AUDIO : APPLICATION AU TRANSFERT CINEMA-VIDEO." Phd thesis, Université de la Méditerranée - Aix-Marseille II, 2003. http://tel.archives-ouvertes.fr/tel-00003363.

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La coexistence de deux formats : cinéma à 24 images/s et vidéo à<br />25 images/s, implique l'accélération ou le ralentissement de la<br />bande-son lors du transfert d'un format vers l'autre. Ceci<br />provoque une modification temporelle du signal sonore, et par<br />conséquent une modification spectrale avec altération du timbre.<br />Les studios de post-production audiovisuelle souhaitent compenser<br />cet effet par l'application d'une transformation sonore adéquate.<br /><br />L'objectif de ce travail est de fournir à l'industrie<br />audiovisuelle un système permettant de pallier la mod
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Robles-Guzmán, Vanessa-Cecilia. "El exorcista: un estudio de su tratamiento sonoro y de su influencia en el cine de terror contemporáneo." Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/3594.

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El Exorcista, una película del género de terror dirigida por William Friedkin en 1973, no solo es un clásico del género; también es un referente para el cine de horror realizado después. Ello se debe a su tratamiento de asuntos que resultaban inéditos para el género, como la sexualidad infantil, y a las características de la representación del proceso de transformación física de una niña poseída, así como al diseño de su banda sonora y de todos sus componentes: la palabra, los ruidos o efectos sonoros, las atmósferas creadas con ellos, la música y el silencio. Todos ellos se orientan a la cr
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Silva, João Paulo Sousa. "Postcanis." Master's thesis, 2019. http://hdl.handle.net/10400.14/32171.

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Na elaboração do presente relatório, realizado na especialização de Design de Som, pretendo englobar todo um conjunto de operações necessárias para o desenvolvimento sonoro para produções audiovisuais. Para esse efeito foi produzido um projeto que contou com a colaboração de alguns colegas de turma de Design de Som. O projeto consiste, preliminarmente, na criação de foleys e efeitos sonoros para um filme mudo que constitui uma referência na história do cinema, “Un Chien Andalou” de 1929, realizado por Luis Buñuel, com estreita pareceria com Salvador Dali. Neste processo de trabalho pretendo in
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Books on the topic "Cinema - Sound effects"

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

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

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

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Yewdall, David Lewis. Practical art of motion picture sound. Focal Press, 1999.

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声音设计: 电影中语言, 音乐和音响的表现力. 浙江大学出版社, 2007.

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Millet, Thierry. Bruit et cinéma. Publications de l'Université de Provence, 2007.

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

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

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Holman, Tomlinson. Sound for film and television. Focal Press, 1997.

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Sound for film and television. 2nd ed. Focal Press, 2002.

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Book chapters on the topic "Cinema - Sound effects"

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Wierzbicki, James. "Sound Effects/Sound Affects: ‘Meaningful’ Noise in the Cinema." In The Palgrave Handbook of Sound Design and Music in Screen Media. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_11.

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Staiger, Janet. "Sound and the Comic/Horror Romance Film." In Voicing the Cinema. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0014.

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Media scholars (and audiences) routinely make useful comparative analyses of films and television series. The problems of grouping texts are well known. This essay proposes a multidimensional approach to this critical activity, one that focuses on formulas, affects, and inflections. Narrative formulas and affects propel our sense of a genre; however, inflections such as stars, target audiences, locales, time periods, verisimilitude, taste markers, or performance styles can radically twist the base into something more complicated. One of the most important sorts of inflections is use of sound: aural effects, voice, and music. Such a multidimensional approach to grouping texts helps to resolve many anomalies in genre categorizing: for instance, the generic category of the musical. Scholars have tended to describe the musical based on Hollywood films created between 1930 and 1960. During this period, most musicals use a standard romance formula and vary the space and time to form several common “subgenres.” The author argues that, from the 1960s, artists begin to turn to other narrative formulas such as the male quest story (Tommy), horror (Sweeney Todd), the fallen-man melodrama (All That Jazz, Pennies from Heaven), and the bio pix (Hamilton). What the musical “is” is inflecting a narrative formula with a particular musical treatment—bursting into song or dance not necessarily provoked by a reasonably motivated diegetic event such as a nightclub act. Such an inflection of musical treatment could be applied to any narrative formula and has been. This essay explores this argument focusing on the comic/horror romance film Zombieland (2009) but with other examples to illustrate the viability of the critical approach and the functions of sound.
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Griffiths, Trevor. "The Talkies Triumphant: Scottish Cinema and the Coming of Sound." In Early Cinema in Scotland. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420341.003.0010.

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A concluding chapter by Trevor Griffiths considers the end of the ‘early period’ and the effects on cinema production and cinema-going of the arrival of sound. The emergence of sound cinema raised fundamental questions about how film was presented to audiences, exposing to view many practices in the silent era, which more often than not pass without comment. The factors, both supply- and demand-driven, promoting the adoption of sound by Scottish exhibitors are considered through analysis of the trade press and associated business records and the chapter examines the pace and extent of the diffusion of sound exhibition from the end of the 1920s, tracing its spread across both metropolitan and small-town Scotland, consolidating the emphasis of preceding chapters.
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"Monocentrism, or Soundtracks in Space." In Voicing the Cinema, edited by Eric Dienstfrey. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0013.

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This chapter investigates how the introduction of stereo complicated Hollywood’s vococentric practices. It also reveals how sound technicians developed mixing techniques that preserved the salience of dialogue in multi-channel soundscapes. The author refers to such techniques as monocentrism and illustrates monocentric norms by analyzing the climactic scene from The Martian (2015). The chapter then examines how technicians often play with these norms in order to change the meaning of a given sequence. To demonstrate this phenomenon, the author analyzes the Louis and Bebe Barrons’s score to Forbidden Planet (1956) and argues that MGM’s rerecording engineers mixed the musical effects so that they panned to different locations within each theater, which thereby invited audiences to interpret these sounds as the voices of the film’s invisible monsters.
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"Vococentrism and Sound in Ingmar Bergman’s The Magic Flute." In Voicing the Cinema, edited by Marcia J. Citron. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0006.

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Bergman’s Magic Flute (1975) is one of the highlights of opera-film. It represents a splendid example of Bergman’s mastery of image and film technique, and a memorable interpretation of Mozart’s late opera. Except for chapters by Jeongwon Joe (1998) and Jeremy Tambling (1987), it has been underrepresented in research on opera-film. There is much more to be said, especially with respect to sound. Not only are Flute’s sound practices critical to the film, but its emphasis on vococentrism is unusual for an opera-film and also connects Flute to Bergman’s cinema as a whole. Many elements in the soundscape contribute to Bergman’s highly personal interpretation. One is the dry environment in the passages of spoken dialogue, recorded live and its contrast with the warmer environment in the musical numbers, which were prerecorded. The spoken sections impart a sense of intimacy and interiority, qualities found in other Bergman films, such as Persona, The Seventh Seal, and The Hour of the Wolf. Ambient noise occurs in some places, its use linked to certain moods and situations. Variations in the resonance of the vocal music add another element to the mix. This chapter focuses on three places in Flute. The second tableau, numbers 1-5, uses sound to delineate the juxtaposition of theater and cinema and establish a link between dry speech and interioirity. In the scene of Tamino’s crisis at “O ew’ge Nacht,” an expanded array of effects, including the acousmêtre and reverberation in addition to dryness, limn Tamino’s psyche and underscore a key moment of the opera. And at Pamina’s parental crisis in the first half of Act II, silence as well as sound plays an integral role. The striking sound design of Bergman and his team is crucial to the film’s aesthetic style, in which “less is more,” and its reputation as a landmark of opera-film.
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Mathias, Nikita. "Cinema – A Medium of the Sublime?" In Disaster Cinema in Historical Perspective. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch05.

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I set out to explore cinema in terms of its potential function as a medium of the sublime. Burke and Kant’s accounts of the sublime are employed to examine their correlation with cinema’s technological, formal, and receptive repertoire. This encompasses intrinsic features such as cinematography’s innovation of putting in motion photographic images, aspects of the montage, the aesthetic potential of the camera as cinema’s central organ of expression and perception, sound effects, and multimedia interplay as well as external features of cinema which constitute the medium as a concrete space for cinematic experiences. To what extent do these various features provoke, facilitate, mediate, or participate in a sensory and affective overpowering of the viewer?
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"Silencing and Sounding the Voice in Transition-Era French Cinema." In Voicing the Cinema, edited by Hannah Lewis. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0003.

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This essay examines two contrasting aesthetics of the voice in early 1930s French cinema and the role that music played in each. Filmed theater, or théâtre filmé, emerged from the conception that sound cinema was primarily a recording medium. In French theatrical adaptations, the speaking voice took precedence over all other elements of the soundtrack. The author argues, however, that in théâtre filmé, speech takes on almost musical qualities, folding music and sound effects into the voice itself. Avant-garde filmmakers took a contrasting approach, rejecting the restriction of camera movement imposed by the theatrical model and hoping to recapture some of the visual freedom characteristic of silent cinema. These filmmakers told their stories with as little spoken dialogue as possible, incorporating music prominently into their soundtracks in order to silence the speaking voice. Though the intent may have been to strip the voice of its dominance within the soundtrack, these directors’ strategic denial of the voice often granted it a much greater significance. By examining early experiments with the voice on the soundtrack in the transition years—including those by Jean Renoir, René Clair, and Jean Grémillon—the author’s analysis expands the concept of “vococentrism,” as articulated by Michel Chion and David Neumeyer, to include different models of understanding the voice in cinema beyond those found in classical Hollywood and helps shed light on competing conceptions of the voice’s role in cinema before practices became codified.
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O'Meara, Jennifer. "The Integrated Soundtrack and Lyrical Speech." In Engaging Dialogue. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.003.0004.

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This chapter considers dialogue in relation to the film soundtrack as a whole, arguing that careful approaches to dialogue in American independent cinema extend to include a creative strategy when combining dialogue, music and sound effects. Analysis of the interaction of music and sound effects with dialogue includes: how musical choices made by characters are verbally contextualised, and how indie filmmakers blur the boundaries between sound effects and dialogue. It is argued that by incorporating portions of inaudible dialogue, American independent cinema can position audience members as eavesdroppers rather than sanctioned listeners – calling on us to listen selectively, and engaging us in the process. The chapter extends Claudia Gorbman’s concept of ‘melomania’ by thinking about characters’ discussion of music as related to her focus on music loving directors. The examination of the integrated soundtrack also considers lyrical speech in relation to polyglot (multilingual) cinema and repetition. Through a case study of Jim Jarmusch’s Only Lovers Left Alive (2013), the chapter also theorises the links between both language and music as markers of time.
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Nowell-Smith, Geoffrey. "2. Technology." In The History of Cinema: A Very Short Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/actrade/9780198701774.003.0002.

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‘Technology’ considers a range of technological developments that were important in the evolution of cinema: making images move, the introduction and synchronization of sound, colour film, widescreen and stereo sound, animation and special effects, and the digital revolution, which has affected the cinema at every level. But do these developments represent progress? Gains in one quarter are often losses in another. Industrial and artistic factors intervene, as do changes in audience tastes. Many of these major innovations were also costly to introduce and were pioneered and exploited by the big studios, giving them a head start over independent producers and exhibitors who could not afford the expenditure.
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"Sounds of the Cinema: Illustrated Song Slides; The Role of the Voice (lecturers, actors); Incidental Musics, Special Effects, Ballyhoo, and Noise of the Audience." In Music, Sound, and Technology in America. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822393917-008.

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