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Books on the topic 'Evolution of film sound'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Kotas, Joanna. Film sound. LCP, 2002.

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2

Cardullo, R. J. Teaching Sound Film. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9.

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3

Altman, Rick. Silent film sound. Columbia University Press, 2005.

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4

Sisto, Antonella C. Film Sound in Italy. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137387714.

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5

Royle, Howard A. Evolution, evolution: Natural, directed : sound bites and insights. Canyon Pub., 1997.

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6

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

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7

Holman, Tomlinson. Sound for film and television. 3rd ed. Focal Press, 2010.

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8

Group, Society of Archivists (Great Britain) Film and Sound. Film and sound archive sourcebook. Society of Archivists, 1999.

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9

Holman, Tomlinson. Sound for film and television. 3rd ed. Focal Press, 2010.

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10

Society of Archivists. Film and Sound Group. Film and sound archive sourcebook. Society of Archivists, 1999.

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11

Wiegand, Daniel. Aesthetics of Early Sound Film. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727372.

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This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films’ fundamentally experimental and inventive character. By considering films and production contexts often neglected in film studies, it strives to counter the still dominant view of the transitional period as a time of yet-to-be-perfected forerunners of ‘classical’ sound film. Instead, authors highlight the sense of ‘fruitful uncertainty’ in this period of media change and transformation. Subjects covered include visual and auditory style; the uses of speech, music, a

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12

1944-, Weis Elisabeth, and Belton John, eds. Film sound: Theory and practice. Columbia University Press, 1985.

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13

Barton, Ruth, and Simon Trezise, eds. Music and Sound in Silent Film. Routledge, 2018. http://dx.doi.org/10.4324/9781315276274.

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14

Institute, British Film, ed. Sight and sound film review volume. B.F.I., 1996.

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15

Institute, British Film, ed. Sight and sound film review volume. B.F.I., 1995.

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16

1952-, Boyd Brian, Carroll Joseph 1949-, and Gottschall Jonathan, eds. Evolution, literature, and film: A reader. Columbia University Press, 2010.

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17

Tortelier, Yan Pascal. The sound of music: Inheritance and evolution. Royal Philharmonic Society, 1997.

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18

Tortelier, Yan Pascal. The sound of music: Inheritance and evolution. Royal Society of Arts, 1997.

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19

Suárez, Juan A. The Sound of Queer Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0013.

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This chapter characterises the music and sound of queer experimental film. It starts out with a historical revision of some social, cinematographic and musical developments that impinged on the evolution of queer experimental film. It then theorises about the possibility of a queer sound and music. And it subsequently characterises three modalities of aural queerness: camp, noisiness and dissonance. These modes share an epistemic uncertainty about the location and the very matter of what counts as queer, so that queerness has to be explored as an open question or a potential frame of reference

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20

Neumeyer, David, ed. The Oxford Handbook of Film Music Studies. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195328493.001.0001.

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This volume explores the history and evolution of film music studies from the silent film to the sound film era. It examines the relevance of various theories, including ontological, feminist, queer, critical and apparatus theories, in film studies and analyzes the influence of theater or opera music on the development of film soundtrack. It also discusses the history of video game music and presents two case studies involving the analysis of the musical scores for Cecil B. DeMille’s The Ten Commandments and Terry Gilliam’s 12 Monkeys.

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21

Lewis, Hannah. Imagining Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0002.

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Chapter 1 focuses on writings in the French press by filmmakers, composers, and critics about sound film and its arrival in France. From sound film’s first successes in Hollywood, French critics paid careful attention to the new technology, and they wrote prolifically and prescriptively about how they believed the French film industry should respond to it. Many filmmakers expressed concern that sound film would upset cinema’s aesthetic development, but many others approached the new technology with excitement, particularly when it came to its musical applications. The debates in the French pre

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22

Altman, Rick. Silent Film Sound. Columbia University Press, 2007.

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23

Silent film sound. Columbia University Press, 2004.

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24

Sound-on-film: Interviews with creators of film sound. Praeger, 1994.

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25

Jacobs. Film Rhythm after Sound. University of California Press, 2014.

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26

Jacobs, Lea. Film Rhythm after Sound. University of California Press, 2014.

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27

Sound Design for Film. The Crowood Press, 2021.

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28

Towne, Robert. Film: Chinatown (Sight & Sound). Faber and Faber, 1999.

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29

Altman, Rick. Silent Silent Film Sound. Columbia University Press, 2004.

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30

Film, a sound art. Columbia University Press, 2009.

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31

The Evolution of Film. Polity Press, 2007.

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32

The Evolution of Film. Polity Press, 2007.

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33

Altman. SOUND THEORY/SOUND PRACTICE CL (Afi Film Readers). Other, 1992.

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34

Sound for picture: Film sound through the 1990s. 2nd ed. MixBooks, 2000.

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35

Holman, Tomlinson. Sound for Film and Television. Taylor & Francis Group, 2001.

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36

E, Coen J. &. Film: Blood Simple *Sight & Sound*. Faber and Faber Ltd, 1999.

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37

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

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38

C, Crowe. Film: Almost Famous *Sight & Sound*. Faber and Faber Ltd, 2001.

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39

Holman, Tomlinson. Sound for Film and Television. Taylor & Francis Group, 2012.

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40

Holman, Tomlinson. Sound for Film and Television. Routledge, 2012. http://dx.doi.org/10.4324/9780240814322.

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41

Sound for film and television. Taylor and Francis, 2010.

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42

Holman, Tomlinson. Sound for Film and Television. Taylor & Francis Group, 2018.

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43

Sight and sound film review. British Film Institute, 1992.

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44

Film Sound: Theory and Practice. Columbia University Press, 1985.

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45

Holman, Tomlinson. Sound for Film and Television. Taylor & Francis Group, 2012.

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46

Holman, Tomlinson. Sound for Film and Television. Taylor & Francis Group, 2012.

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47

Holman, Tomlinson. Sound for Film and Television. 2nd ed. Focal Press, 2001.

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48

Harper, Graeme. Companion to Sound, Film, Visual. Continuum International Publishing Group, 2007.

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49

Holman, Tomlinson. Sound for Film and Television. Taylor & Francis Group, 2012.

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50

Schrader, Paul. Film: Taxi Driver *Sight Sound*. Faber and Faber Ltd, 1999.

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