Relevant bibliographies by topics / Evolution of film sound / Dissertations / Theses
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Dissertations / Theses on the topic 'Evolution of film sound'

Author: Grafiati
Published: 24 April 2022
Last updated: 30 July 2025

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1

Wall, Sara. "The Real Group : Evolution of Sound." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173677.

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Abstract Sara Wall: The Real Group-Evolution  of Sound. Institutionen for musikvetenskap, Uppsala universitet, 2002. 60 p.  The purpose of this thesis is to track the cause of The Real Group's evolution of sound by means of analyzing song recordings from three chronologically  selected albums. The areas of components used for the analysis are self-formulated and based on a variety of material and sources. In order to heighten the reader's understanding of the relatively new and abstract term, sound is described within the realm of pop and rock and applied to a cappellajazz. This is mainly acco
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2

Dittrich, Elisabeth, and Rebecka Karlström. "Musik i Film : The Sound of Movies." Thesis, University of Kalmar, Baltic Business School, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2444.

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<p>The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in t
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3

Godsall, Jonathan. "Pre-existing music in fiction sound film." Thesis, University of Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633201.

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A study of the use of pre-existing music in fiction sound film, this thesis fills a gap in the literature by studying pre-existing music as a category of music in film in itself, the premise being that there are conclusions to be drawn about the use of such music that relate to its pre-existing status, regardless of style, genre, and so on. The main questions are as follows: How and why is pre-existing music used in films? What effects can its use have for and on films and their audiences? And what lasting effects does appropriation have on the music? The exploration of these issues draws on c
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4

Nylen, Nick. "The Oxide Incident." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1492.

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My interest in sound-centric filmmaking and the literary genre of magical realism fostered the development of my thesis film, The Oxide Incident. The film is the story of Simon, a recent divorcee and sound archivist, who discovers a mysterious reel-to-reel-audio tape that he believes may help him heal his damaged relationship with Hannah, his teenage daughter. This paper examines the influence of magical realism on the film, some of its thematic, theoretical, and conceptual ideas such as its exploration of interpersonal communication and its implications in regard to gender, as well as some of
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5

Rogoff, Jana. "Audiovisual (a)synchrony in early Soviet sound film." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2016. http://dx.doi.org/10.18452/17533.

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Die Dissertation ist eine medienhistorische Studie über die Einführung des Tons im sowjetischen Kino, die ästhetische und technologische Veränderungen in einem weiter gefassten politischen und kulturellen Kontext interpretiert. In historischen Untersuchungen des frühen Tonfilms der letzten zehn Jahre wurde der sowjetischen Methode des asynchronen Tons häufig die verbreitetere Methode der möglichst genauen Synchronisation gegenübergestellt, wie sie von der Filmindustrie in Hollywood in den späten 1920er und frühen 1930er Jahren entwickelt wurde. Die Arbeit geht über diese zum Standard gewordene
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6

Wingler, Peter A. "The narrative force of sound." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337641.

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This work argues that sound design represents a powerful narrative force within the larger narrative of a film. The major component of this project is a DVD with multiple sound designs (each containing a different narrative context) available for a single short film. The written component looks at sound design and its components, and then examines sound design through the lens of Fisher's Theory of Narrativity. It is found that sound design does exhibit the characteristics of providing a "reliable, trustworthy, and desirable guide to thought and action in the world." It is also shown that usin
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7

Schroer, Kerstin. "Film matters : historical and material considerations of colour, movement and sound in film." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q14q8/film-matters-historical-and-material-considerations-of-colour-movement-and-sound-in-film.

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The narratives presented in most film histories seem to ignore the essential material components of analogue film stock. Film matters focuses on material components of the film image – specifically colour, movement and sound – with the aim of telling a material history in a contemporary, ‘post-digital’ environment. The aim of this history is to show how film as a material has participated in the building of social and political realities that are still at work today. My practice-led research results in two videos on colour and a 16 mm film on movement and sound. In these works I practice alter
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8

Milano, Omar. "It's a Wonderful Business: The Art of Production Sound." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.

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It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sa
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9

Apprich, Franziska-Maria. "Film-sound as art : a study of sound in cinema presented in theory and practice." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.

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10

Slowik, Michael James. "Hollywood film music in the early sound era, 1926-1934." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.

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This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film
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11

Constantinou, Odysseas Symeon. "Sound-to-picture : the role of sound in the audio-visual semiosis of non-fiction film." Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/54109/.

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12

Petrikis, Titus. "Creating a sound world for Dracula (Browning, 1931)." Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/21390/.

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The first use of recorded sound in a feature film was in Don Juan (Crosland 1926). From 1933 onwards, rich film scoring and Foley effects were common in many films. In this context, Dracula (Browning 1931)1 belongs to the transitional period between silent and sound films. Dracula’s original soundtrack consists of only a few sonic elements: dialogue and incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film; there is no underscoring. The reasons for the ‘emptiness’ of the soundtrack are partly technological, partly cultural. Browning’s
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13

Casserly, Brian Gerard. "Securing the Sound : the evolution of civilian-military relations in the Puget Sound area, 1891-1984 /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/10399.

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14

Süss, Gunter. "Sound subjects zur Rolle des Tons in Film und Computerspiel." Trier Wiss. Verl. Trier, 2005. http://www.wvttrier.de.

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15

Barnes, Randall. "Collaboration and integration : a method of advancing film sound based on the Coen brothers' use of sound and their mode of production." Thesis, Bournemouth University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.512614.

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For the majority of cinema history, the film industry has treated sound as a less Integral ingredient In the filmmaking process. This has translated into working practices that have marginalised sound's contribution and have divided personnel. Joel and Ethan Coen's mode of production stands in contrast to a majority of those currently working in the film industry. They foreground sound's contribution by priming their scripts for sound, involving their sound personnel sooner and by encouraging close collaboration between those responsible for the soundtrack. The Coens' model serves as a way of
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16

Ulusoy, Suleyman. "The Mathematical Theory of Thin Film Evolution." Diss., Georgia Institute of Technology, 2007. http://hdl.handle.net/1853/16213.

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We try to explain the mathematical theory of thin liquid film evolution. We start with introducing physical processes in which thin film evolution plays an important role. Derivation of the classical thin film equation and existing mathematical theory in the literature are also introduced. To explain the thin film evolution we derive a new family of degenerate parabolic equations. We prove results on existence, uniqueness, long time behavior, regularity and support properties of solutions for this equation. At the end of the thesis we consider the classical thin film Cauchy problem on t
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17

Hodges, Peter. "Sound & vision : towards a definition of the dialogical interactions between image and sound effect in animated film." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/sound--vision-towards-a-definition-of-the-dialogical-interactions-between-image-and-sound-effect-in-animated-film(b4175cec-c2c9-4e9c-bb66-048a50b580ec).html.

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The introduction of synchronised sound to moving pictures brought the birth of a new form of entertainment, the sound film. As a contemporary moving image medium to the live action film, animated film also successfully adopted synchronised sound. The process of animation is, by its nature, inherently silent so any use of sound involves decisions away from the creation of the image. Thus, there are many opportunities for an inventive audiovisual dialogue to affect an animated film's narrative intention. The marriage of sound to image was initially thought to provide two opportunities of interpr
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18

Orpen, Valerie Anne. "Splicing emotion : the expressive dimensions of editing in the sound film." Thesis, University of Warwick, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340096.

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19

Murray, Leo. "Film sound: Applying Peircean semiotics to create theory grounded in practice." Thesis, Murray, Leo ORCID: 0000-0002-2366-7460 (2013) Film sound: Applying Peircean semiotics to create theory grounded in practice. PhD thesis, Murdoch University, 2013. https://researchrepository.murdoch.edu.au/id/eprint/20256/.

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This thesis examines the theoretical approaches to the use of sound in film. It argues that there is a gap between film sound theory and film sound practice and seeks instead to formulate sound theory which is based on sound practice which can therefore be applied to both the product and the process: the soundtracks themselves and the processes which create them. This thesis argues that the analytical methodologies typically applied in other areas of film studies do not readily lend themselves to the analysis of sound, or sound/image combinations. A semiotic model developed by Charles Sande
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au, Collin Chua@uts edu, and Collin Chua. "Re-Sounding Images: Sound and Image in an Audiovisual Age." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080526.111205.

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This dissertation examines the evolving articulation of sound and image in contemporary culture, with particular reference to film. It argues that sound and image have undergone a historical machined separation, followed by a machined fusion or recombination. The machined fusion of sound and image has enabled the creation of soundful images, which are more than simply the sum of their parts. Through the infusion of sound, images are now routinely reinforced with a performed sense of presence, where they are made to sound more real, more powerful, more authentic. Through association with the im
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21

Muniz, Alexa S. "Our Sound Our Silence: Self Care in Student of Color Activism." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/783.

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Our Sound Our Silence is a performative documentary about student of color activists at Scripps College. This video project attempts to highlight the fatigue, emotional, mental, and physical exhaustion these students experience from having to work within the institution to advocate for their survival. This video project also attempts to speak to the importance of self-care for students of color and especially for those involved in activism and organizing on campus. I wanted to use the creation of this video as a means of self-care and process of healing for myself, my collaborators, and my com
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22

Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.

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Thesis (M.Mus.)--University of Stellenbosch, 2006.<br>ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the
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23

Timmons, Lena G. Boyd Jean Ann. "Functions of film music and sound within a genre : the revenge western /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4900.

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24

Green, Dusin J. "The Synthesizer: Modernist and Technological Transformations in Film Sound and Contemporary Music." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/700.

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The invention of the synthesizer meant the possibility of achieving virtually any sound in one mechanism, a superbly convenient device for musical creativity. Perhaps the perfect space for this approval of sound creativity was in the modern electronic film score. The synthesizer also flourished in popular music immediately following its emergence, but a common form began to solidify itself among synthesizer music. Shortly after, improvements in electronic instrument technology led to the democratization of electronic music and equipment, ultimately leading to electronic music as the new mainst
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25

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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26

Lantz, Fanny. "Exploring the impact of familiarity on the emotional response to acousmatic sound effects in horror film." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84249.

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Ever since the introduction of sound in film, sound effects have played a big part in the experience of the film audience. Acousmatic sound effects are diegetic sounds that lack a visual source on screen, and they are frequently used in horror films. This research explores the relationship between familiarity with sound effects and the emotional response in the audience. An experiment was conducted where two test groups watched an excerpt from a horror film where acousmatic sounds were a big part of the soundtrack. One of the test groups watched a version where there were reoccurring familiar
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27

Lewis, Hannah Rose. "Negotiating the Soundtrack: Music in Early Sound Film in the U.S. and France, 1926-1934." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11376.

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This dissertation examines music's role in cinema in the early years of synchronized sound film in the United States and France. Working against the historical and technological determinism that often plagues narratives of the transition to sound, I investigate the myriad ways in which directors, producers, and composers approached the new technology. Films acted as artistic manifestoes on the new technology and its aesthetic potential as filmmakers experimented with the musical soundtrack. Through multi-site archival research and close analyses of films and their music, I point to the heterog
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Atterstig, Elin. "Att höra genre : Vad ljudet i filmens inledning berättar om genre." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9740.

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<p>This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.</p><p>The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it
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Surendranath, Yogesh. "Oxygen evolution mediated by co-based thin film electrocatalysts." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/65477.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Chemistry, 2011.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references.<br>The electrocatalytic conversion of water to O₂ is the key efficiency-determining reaction for the storage of electrical energy in the form of liquid fuels. In this thesis, the simple preparation of a cobalt-based catalyst for the oxygen evolution reaction (OER) is described and details of its structure, valency, mechanism of action, and mechanism of formation at intermediate pH are elaborated. The catalyst is obtained as an electr
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Thompson, Julia Erwin. "Exploitative to Favorable, Freak to Ordinary: The Evolution of Disability Representation in Film." Ohio Dominican University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=odu1449053412.

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31

McCann, Mark. "Penser l'écran sonore les théories du film parlant /." Click here to access, 2006. http://thesis.library.adelaide.edu.au/public/adt-SUA20070320.161033/index.html.

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32

Pelling, Kate. "Select, reject, reconfigure : editing speech in artists' direct address to camera." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/10825/.

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This practice-based thesis offers a new approach to editing processes that take place during the recording and subsequent editing of an individual speaking directly to a camera. Rosalind Krauss identified all performance to camera as narcissistic (1976), which includes the subset of artists’ direct address to camera, and since then the area has been widely understood within a psychoanalytical framework. This new approach provides a non-psychoanalytical perspective on direct address to camera, taking into account linguistic self-editing during the generation of speech (Skinner, 1957, p. 370) an
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Natzén, Christopher. "The Coming of Sound Film in Sweden 1928-1932 : New and Old Technologies." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42168.

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This dissertation examines the coming of sound film in Sweden during the years 1928–1932, and the reception of mechanically recorded sounds both in the trade press and among audiences. The novelty of sound film opened up for a negotiation of the perception of sound and image, as it made visible the film medium’s technological construction, before this visibility was once more absorbed by the cinematic discourse. The conversion to sound film is considered from three perspectives -- technology, reception and practice -- as well as through the concept of intermediality, focussing how the audio-vi
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McGill, Amy. "The contemporary Hollywood film soundtrack : professional practices and sonic styles since the 1970s." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/41173.

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Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American
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35

Wilson, Laura. "Physical spectatorship and the mutilation film." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/physical-spectatorship-and-the-mutilation-film(7443c1ca-02ca-4133-8598-333fc44df9e8).html.

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This thesis explores what I call 'physical spectatorship' as it is generated by a group of films concerned with the mutilation of the human body. Focusing on the representation of mutilation on the screen and the physical responses this evokes, the thesis is organised around the study of a series of dynamic engagements that reconfigure the film-viewer relationship; these include: corporeal mimicry and the cinematic visualisations of mutilation; generalised anxiety and experimental use of sound; and the nausea generated by audio-visual techniques that both signify and locate the filmic gut in t
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Eernstman, Natalia. "Art as a source of learning for sustainable development : making meaning, multiple knowledges and navigating open-endedness." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9197/.

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This research is a practice-based inquiry into the contribution of art to processes in which communities explore, design and proceed on sustainable ways forward. In rejecting an overly technocratic approach, this thesis follows a learning-based conception of sustainable development. Rather than transmitting predetermined solutions, social learning is about establishing a prolific framework of conditions in which people can explore for themselves what is ‘right’, sustainable and desired. Such learning shows important overlaps with art, in that it does not set out to transmit a predetermined mes
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Fortea, Richard, and Nils Vennberg. "Ljudbilders Mättnad i Film : Hur tjocka och tunna ljudbilder byggs upp." Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20403.

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Detta kandidatarbete undersöker ljudbilder i film och vad som påverkar ljudbildens mättnad. Med stort fokus på Walter Murchs Dense Clarity, Clear Density (2005) bryter vi ner uppbyggnaden av en ljudbild för att få bättre förståelse kring detta. Med en egenframtagen analysmetod som fokuserar på filmers ljudbild analyserar vi scener ifrån flertalet filmer och tv-program, hittar mönster kring deras ljudläggning och hur det påverkar ljudbilden. Därefter bygger vi upp en lista med förhållningspunkter för olika typer av ljudbilder. Resultatet av undersökningen blir en förklaring av hur man uppnår ol
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Redmon, Shanise. "HAPTIC HAPPENINGS: AN EXPLORATION OF SOUND, QUIET AND BLACKNESS." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/532222.

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African American Studies<br>M.A.<br>This research analyzes the lives and works of Black visual artists and filmmakers as visual representations of haptic events. This thesis examines how the lives of the artists and specific works of art are entangled with sound and quiet and directly reflect and shape the complexities black interiority. The possibilities of the black interior expand when the senses are combined and how the utilization of that synthesis centers the interior lives, ideas and art of black people. Centering the interior life creates space for the humanity of black people to be fu
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Starrs, D. Bruno. "Aural auteur : sound in the films of Rolf de Heer." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29302/2/Bruno_Starrs_Thesis.pdf.

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An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking th
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Starrs, D. Bruno. "Aural auteur : sound in the films of Rolf de Heer." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29302/.

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An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking th
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Allison, Deborah. "Promises in the dark : opening title sequences in American feature films of the sound period." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247223.

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42

Mills, Brian(Brian A. ). "Stress evolution of thin film RuO₂ Li-ion battery electrodes." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/127099.

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Thesis: S.B., Massachusetts Institute of Technology, Department of Physics, 2020<br>Cataloged from the official PDF of thesis.<br>Includes bibliographical references (pages 35-39).<br>Abstract Thin Film Li-ion batteries (TFB) are seen as a promising candidate for powering small, low power microelectronic devices as they exhibit high energy density and can operate reliably at low voltages. Currently the biggest obstacle to TFB battery development is high volume expansion and material degradation in electrodes with high theoretical Li ion capacities. Among these materials is RuO₂, which exhibits
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Helmers, Maike. "A new narrative frame : sound design and conceptual storytelling in German film, 1930-1933." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31235/.

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During the final years of the Weimar Republic, precisely at a time when the democratic principles of German government came under increasing pressure from national as well as global political and economic forces, sound film became rapidly established as an innovative element in German cinema. With the arrival of technology enabling the production of synchronous sound for cinema film, the era of live sound accompaniment in cinemas drew to a close. This thesis discusses the period of Germany’s transition into the sound film era within a wider historical context of the late Weimar Republic and id
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Stern, Joel. "Tracing the influence of non-narrative film and expanded cinema sound on experimental music." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/61001/1/Joel_Stern_Thesis.pdf.

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This study surveys and interrogates key conceptual frameworks and artistic practises that flow through the distinct but interconnected traditions of non-narrative film and experimental music, and examines how these are articulated in my own creative sound practise.
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Rogoff, Jana [Verfasser], Susanne [Gutachter] Frank, and Natascha [Gutachter] Drubek. "Audiovisual(a)synchrony in early Soviet sound film / Jana Rogoff. Gutachter: Susanne Frank ; Natascha Drubek." Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät II, 2016. http://d-nb.info/110422979X/34.

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Weiss, Asher. "21st Century Film Criticism: The Evolution of Film Criticism from Professional Intellectual Analysis to a Democratic Phenomenon." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1910.

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Film criticism has changed since its inception and will continue to change moving forward. The evolution of film criticism has largely been a story of the shift from an elite field of intellectual exploration by a few knowledgeable experts to a democratic phenomenon where expert analysis is aggregated and averaged, and the lines are blurred between true expertise and the random opinions of the masses. This paper will address the transition from the birth of film criticism to its popularization through the 90s, to what it has become today. By exploring the nature of film criticism historically
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Rossholm, Anna Sofia. "Reproducing Languages, Translating Bodies : Approaches to Speech, Translation and Cultural Identity in Early European Sound Film." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://www.diva-portal.org/su/theses/abstract.xsql?dbid=1333.

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Yu, Hang Ph D. Massachusetts Institute of Technology. "Mechanisms for intrinsic stress evolution during and after polycrystalline film growth." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81062.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Materials Science and Engineering, 2013.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references.<br>Growth of polycrystalline films involves poorly understood kinetic processes that occur far from equilibrium and lead to complex co-evolution of the surface, microstructure and intrinsic stress of the films. Here we present a comprehensive study consisting of in situ stress measurements, microstructure characterization, and analytical modeling for various polycrystalline systems. We find that in systems of
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Pantchev, N. (Nikola). "A history of violence:the evolution of violence in American film remakes." Master's thesis, University of Oulu, 2016. http://urn.fi/URN:NBN:fi:oulu-201605051637.

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This master’s thesis studies the violence in American cinema. The study is relevant, as it seems that more and more focus is given to the violence found in the arts. Furthermore, it seems that there is a general idea that films are becoming more violent. The thesis first investigates the history of American cinema from the late 1800s to the present while analyzing how violence has been depicted and filmed. The thesis also considers how violence in film has been moderated, for example, by the Production Code. The first part of the thesis focuses on the four eras of Hollywood and discovers that
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Struhařová, Michaela. "Zvuková postprodukce v oblasti reklamy a filmu, případová studie firmy Studio Beep s.r.o." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-199246.

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Main topic of this thesis is description of sound post production in advertising and in the film film industry and making case study of company Studio Beep s.r.o. First aim of this thesis is describe as clearly as possible the theory of sound and sound post production in advertising and in film industry and also show specifics accompanying production of sound in each discipline. The theoretical part contains basic overview about history of sound, sound dramaturgy and about general principles of sound post production. Second aim is practical description of this issue on specific advertising and
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