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Journal articles on the topic 'Film Sound Analysis'
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Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.
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The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character.
 This essay explores the director's vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. The author analyses several films about Georgia's capital Tbilisi, produced in different time periods. The vivid "sound face" of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city's sounds for the formation of the image of film characters in the cultural and historical context of particular films. The essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a film's semantics to higher aesthetic and intellectual levelsl.
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Langkjær, Birger. "Making fictions sound real - On film sound, perceptual realism and genre." MedieKultur: Journal of media and communication research 26, no. 48 (2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2115.
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This article examines the role that sound plays in making fictions perceptually real to film audiences, whether these fictions are realist or non-realist in content and narrative form. I will argue that some aspects of film sound practices and the kind of experiences they trigger are related to basic rules of human perception, whereas others are more properly explained in relation to how aesthetic devices, including sound, are used to characterise the fiction and thereby make it perceptually real to its audience. Finally, I will argue that not all genres can be defined by a simple taxonomy of sounds. Apart from an account of the kinds of sounds that typically appear in a specific genre, a genre analysis of sound may also benefit from a functionalist approach that focuses on how sounds can make both realist and non-realist aspects of genres sound real to audiences.
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REDFERN, NICK. "Sound in Horror Film Trailers." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.
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In this paper I analyse the soundtracks of fifty horror film trailers, combining formal analysis of the soundtracks with quantitative methods to describe and analyse how sound creates a dominant emotional tone for audiences through the use of different types of sounds (dialogue, music, and sound effects) and the different sound envelopes of affective events. The results show that horror trailers have a three-part structure that involves establishing the narrative, emotionally engaging the audience, and communicating marketing information. The soundtrack is organised in such a way that different functions are handled by different components in different segments of the soundtrack: dialogue bears responsibility for what we know and the sound for what we feel. Music is employed in a limited number of ways that are ironic, clichéd, and rarely contribute to the dominant emotional tone. Different types of sonic affective events fulfil different roles within horror trailers in relation to narrative, emotion, and marketing. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on the reactions of characters in horror trailers and the presence of nonlinear features in the sound design of affective events.
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Park, Byung-Kyu. "Semiotic Analysis of Film Sound in Hitchcock's." Journal of the Korea Contents Association 15, no. 4 (2015): 65–74. http://dx.doi.org/10.5392/jkca.2015.15.04.065.
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Altman, Rick. "Establishing Sound." Cinémas 24, no. 1 (2014): 19–33. http://dx.doi.org/10.7202/1023108ar.
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The history of film sound has usually been configured as a series of technological upheavals. In every case, the story has been told through technological innovations, as if changes in technology were alone responsible for the development of new sound strategies. The approach offered here differs markedly from these previous treatments of sound. Instead of concentrating on technological shifts, this article stresses technical decisions made by the soundmen and directors responsible for developing Hollywood’s standard approach to sound. Through succinct analysis of two key films, The First Auto (Warner, 1927) and It Happened One Night (Columbia, 1934), along with briefer treatment of The Big Trail (Fox, 1930), a distinction is made between “shot-by-shot” treatment of sound and “scene-by-scene” treatment of sound. The systematic use of sound in It Happened One Night to establish and maintain a coherent sense of place gives rise to recognition of the increasingly common use of what the article terms “establishing sound.” Parallel to Hollywood’s familiar technique of introducing each scene with an “establishing shot,” the use of establishing sound offers filmmakers an additional method of locating auditors and maintaining their relationship to the film.
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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 circulation even now. Thorough sound design and editing are of great significance in film production. The author comes to conclusion, that rondo as a musical form and leit-motif as a principle of musical stuff development form a dominant principle of sound stuff arrangement. The two fundamentally tighten the structure of the film. Since original music affords to accentuate sound effects in the most adequate way, it seems perfect to call to a composer for creating original music. The author assumes, that the choice of sound arrangement principle in cinema depends on deliberate conception of the film, wrought out by the helmer, composer, and supervising sound editor. The screen works property is closely bound with attentive partition editing.
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Ismail, Al Emran, K. A. Arif, Musli Nizam Yahya, Waluyo Adi Siswanto, and Ismail Nawi. "Analysis of Sound Produced by a Traditional Malay Musical Instrument “Kompang”." Applied Mechanics and Materials 773-774 (July 2015): 53–57. http://dx.doi.org/10.4028/www.scientific.net/amm.773-774.53.
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This paper presents frequency analyses of sounds produced by traditional Malay musical instrument “kompang”. Kompang is used to produce exotic sound especially certain grand ceremony. In order to produce sound, different types of skins are used especially made from polymer (used x-ray film) and animal skins. However, the sound produced by a polymeric skin is not similar with the sound produced using an animal skin. Therefore, this present work investigated the effect of such skins on the sound produced and as a result affecting the sound quality. Appropriated software is used to conduct the frequency analyses in order to investigate whether the polymeric skin can be a replaceable skin in replacing an animal skin. It is found two different skin materials have their own sound characteristics and it is also indicated that lower peak sound frequency produced by animal skin compared with the polymeric skin.
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Sholihah, Farkhatus. "AN ANALYSIS OF PLOT IN FILM THE THEORY OF EVERYTHING BY JAMES MARSH." E-LINK JOURNAL 8, no. 1 (2021): 58. http://dx.doi.org/10.30736/ej.v8i1.425.
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Plot is one of the important elements contained in narrative literary works. Plots in literary works, films, stories, or other narratives are sequences of several events, and each of these events influences subsequent events. Now, the film is considered as a powerful communication medium for the masses that are being targeted, because of its audio-visual nature, that is, vivid images and sounds. With pictures and sound, movies can tell a lot in a short time. This study focuses on the analysis of how the plot is used in the film The Theory of Everything. Thus, the aim is to describe the plot in the film The Theory of Everything.This research used a descriptive qualitative method. First, the writer categorizes several fragments of a sentence, dialogue, and scene. Next, look for, analysis, and interpret it to obtain the plot structure in accordance with the theory. From the results of the analysis obtained the answer that the film is told in its entirety starting from exposition, rising action, climax, and falling action. And the film closes with a closed ending. So the film goes forward or progressive plot. The authors hope that the results of this study will benefit future researchers who are interested in the work of literature in the form of films, especially in the plot. Keywords: Film, plot
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Tan, Siu-Lan. "Investigating Sound Design in Film: A Commentary on Kock and Louven." Empirical Musicology Review 13, no. 3-4 (2019): 149. http://dx.doi.org/10.18061/emr.v13i3-4.6723.
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Kock and Louven (in this issue) examined the effects of music, sound effects, full sound design (music and sound effects) and no sound on self-reported measures of immersion and suspense in real time, as viewers watched very brief original films. This commentary discusses the method, analysis, and implications of their findings within the broader context of the state of the art of film music research, and future directions for investigations in this area.
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Griffith, Frank, and David Machin. "Communicating the ideas and attitudes of spying in film music: A social semiotic approach." Sign Systems Studies 42, no. 1 (2014): 72–97. http://dx.doi.org/10.12697/sss.2014.42.1.04.
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Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Following other scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how we can draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe the semiotic resources available to composers to allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying.
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Ding, Yi, Jun Hong Su, and Hai Feng Liang. "Acoustic Method of Detection of Optical Thin Films Damage." Advanced Materials Research 301-303 (July 2011): 965–69. http://dx.doi.org/10.4028/www.scientific.net/amr.301-303.965.
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Laser damage threshold of optical thin film is a critical parameter in measuring laser induced damage. The key to testing damage threshold is judging the injury incident accurately. It has been found that when high-energy laser on the film, there will be sounds generated. In the present paper, acoustic method was applied to determine thin films damage. A brief analysis will be given on feasibility of acoustic method in judging thin films damage. Acoustic acquisition system will be established. In the experiment, we will average laser energy into 10 grades, each grade test 10 points. The sound wave of each point will be record. At the same time, we use image method judge damage of the thin films and record the result. By studying the sound waves of the thin films in different laser energy，it is easy to judge whether the optical films is damaged. The measured result is compared with image method. Both of them have a preferable consistency. The analysis shows that the acoustic method can be used effectively to determine laser-induced damage and it can be used in online inspection conveniently.
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Aline, Remael. "For the use of sound. Film sound analysis for audio-description: some key issues." MonTI. Monografías de Traducción e Interpretación, no. 4 (2012): 255–76. http://dx.doi.org/10.6035//monti.2012.4.11.
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Remael, Aline. "For the use of sound. Film sound analysis for audio-description: some key issues." MonTI: Monografías de Traducción e Interpretación, no. 4 (2012): 255–76. http://dx.doi.org/10.6035/monti.2012.4.11.
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Lewis, Hannah. "The singing film star in early French sound cinema." Soundtrack 12, no. 1 (2020): 21–37. http://dx.doi.org/10.1386/ts_00010_1.
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In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star’s stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France.
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Morozova, Ekaterina Vladimirovna. "Teaching audiovisual translators discourse analysis of documentary films." KANT 38, no. 1 (2021): 291–95. http://dx.doi.org/10.24923/2222-243x.2021-38.60.
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The article discusses teaching the analysis of documentary films from the standpoint of a discursive approach. The importance of teaching the analysis of documentary films is due to the specifics of audiovisual production. A documentary film is a polyosemiotic construct combined with verbal, pictorial and sound signs, which are important for the translator to take into account in the translation process. The discursive approach allows to teach future translators to analyze not only the work as a whole, but also to analyze the historical and socio-cultural context in which it was created.
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Jinman, G., S. Junhong, W. Shenjiang, X. Junqi, C. Lei, and L. Ning. "Diagnosing laser-induced damage to optical thin films using peak sound pressure of shock waves." Laser and Particle Beams 35, no. 2 (2017): 259–64. http://dx.doi.org/10.1017/s0263034617000131.
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AbstractLaser-induced damage threshold (LIDT) is an important parameter used to describe the resistance of optical thin films to laser damage. The service life and cost of optical systems depend on the LIDT of the film. Thus, the precision with which the film's LIDT can be measured impacts how well the service life and cost of the system can be predicted. Therefore, it is important to find a precise approach to diagnose a film's laser-induced damage. In this paper, characteristics of the peak sound pressure of laser-induced plasma shock waves from thin films have been systematically investigated experimentally. We found that the peak sound pressure decays rapidly with propagation distance during air transmission. Based on a theoretical analysis of the relationship between the peak sound pressure and the laser damage to a film, we propose a method for diagnosing laser damage using the peak sound pressure of a thin film's shock wave. Our results show that this method can simplify implementation, which will provide a new method with which to diagnose laser damage to thin films.
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Rusinova, Elena A., and Elizaveta M. Khabchuk. "The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 74–84. http://dx.doi.org/10.17816/vgik10274-84.
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The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became distinctive features of the genre of dzidaigaki (costume-historical film), especially loved by the audience. The main vehicle in the sound design of such films was the actor's speech using an ancient language, differing from modern Japanese by the presence of additional endings and pronouns. The mode of stylization of speech, associated with a special attention to detail, brings the audience closer to the time displayed on screen, adding realism in the perception of the screen event. The article presents stylistic, phonetic, semantic features of actor's speech in Japanese films not only in costume and historical genre, but also in fantasy and animation films. In the latter two genres, the onomatopoeia (sound imaging) plays an important role in creating the sound design of the film, which is so common in Japanese colloquial and written speech that can also be attributed to a peculiar Japanese cultural tradition. Analysis of sound designs of the Japanese films, including the use of onomatopoeia, is the novelty of the work presented. The articles topicality is that analyzing another view of the world can broaden the horizon of seeing a specific creative task that is not even related to the Japanese theme, while opening up new creative opportunities. In addition, the material of the article in some extent fills a gap in Russian cinema studies, related to the theme of sound in Japanese cinema.
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De Almeida, Rafael, and Ana Paula De Aquino Caixeta. "The soundscape in the essay film Heart of a Dog." Intexto, no. 47 (August 6, 2019): 75–88. http://dx.doi.org/10.19132/1807-8583201947.75-88.
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We aim to investigate the ways of using the soundscape in the essay film Heart of a Dog (Laurie Anderson, 2015). Methodologically we rely on the procedure of the film-based analysis focused on the soundtrack. Our research problem is dedicated to questioning how the soundscape participates in the elaboration of a reflection in development, intended by the essay films. From such discussions about our film corpus, we consider that in the essay films there is a reflexive sound-landscape, which both supports and potentiates the voice-over in its role of concretizing the ongoing thought, as well as discarding it to create new and more complex layers of meaning.
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KIM, Eunhye. "A COMPARATIVE STUDY ON DISCOURSE ANALYSIS OF KOREAN MOVIE THE HOUSEMAID – FOCUSED ON FILMS IN 1960 AND 2010 –." International Journal of Korean Humanities and Social Sciences 6 (December 30, 2020): 57–79. http://dx.doi.org/10.14746/kr.2020.06.03.
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Korean legendary film director Kim Ki-Young’s 1960 work The Housemaid was remade in 2010 by director Im Sang-Soo. The study of the two films can be found as a comparative study of cinematic studies on sound analysis and genre analysis, and a sociological study on social images. However, few studies have looked with a discourse oriented approach. Discourse in the movie is not only a window for communication between characters, but also an important device with non-verbal elements, so it can be said to be discourse has a high importance as an analysis target. This study analyzes the film discourse according to Erving Goffman’s dramaturgical analysis to find out the differences between the characters. This study can be said is meaningful in that it has the characteristics of interdisciplinary research in linguistics and film studies through discourse analysis of two films with different periods.
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IKEZAKI, Syuuhei, Yoshio KUROSAWA, Naoyuki NAKAIZUMI, and Manabu TAKAHASHI. "10410 Sound Insulation Analysis of Porous Media Using Felts and Film." Proceedings of Conference of Kanto Branch 2015.21 (2015): _10410–1_—_10410–2_. http://dx.doi.org/10.1299/jsmekanto.2015.21._10410-1_.
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Carreiro, Rodrigo, and Luíza Alvim. "Uma questão de método: notas sobre a análise de som e música no cinema." Matrizes 10, no. 2 (2016): 175. http://dx.doi.org/10.11606/issn.1982-8160.v10i2p175-193.
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To establish accurate methods that enable the rigorous study of the soundtrack in audiovisual products has been a recurring problem in film studies in Brazil. This essay critically examines manuals, books and articles from different areas of study, including Social Communication, Film Analysis and Sound Studies, in order to compile suggestions of methods of sound and music analysis in audiovisuals that may help future researchers.
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Sprout, Leslie. "Composing Film Music in Theory and Practice: Honegger's Contributions to Les misérables and Rapt." Journal of the American Musicological Society 72, no. 1 (2019): 43–113. http://dx.doi.org/10.1525/jams.2019.72.1.43.
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Arthur Honegger composed his first sound film scores in 1933–34. For Les misérables, Raymond Bernard, who was under contract at Pathé-Natan to direct big-budget theatrical films that would compete with Paramount's French-language productions, expected Honegger to provide intermittent orchestral underscoring for already filmed sequences that privileged dialogue over music. For Rapt, the musically trained Dimitri Kirsanoff used independent financing to collaborate from the start with Honegger and Arthur Hoérée on what the director called “a hybrid form … in which music, image, and dialogue work together.” The innovative electroacoustic and sound editing techniques in the soundtrack for Rapt have, I argue, overshadowed the strikingly reciprocal relationship between the soundtrack's more conventional instrumental underscoring and the images on screen. Honegger theorized in 1931 that, in sound film, music's “autonomy” would free it from the burden of mimesis. Instead, the images on screen would teach listeners about music's abstract “reality.” In practice, however, in Rapt, mimetic music and musicalized sound effects bridge the gap between aesthetic goals of hybridity and practical demands for intelligible dialogue. My analysis of the abduction, washhouse, storm, and dream sequences in Rapt demonstrates that a successful hybrid of sound and image ultimately has the potential not just to use images to pin down music's elusive “reality,” but also to use music's mimetic possibilities to influence our reading of ambiguous imagery. It also shows that music does not need to be in itself groundbreaking in order to contribute to groundbreaking innovations in sound film.
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Novakovic, Monika. "Silentium est aurum: The relationship between silence and sound in film as illustrated by films Le Samourai (1967) Goya’s Ghosts (2006), The Artist (2011) i Acts of Vengeance (2017)." Muzikologija, no. 26 (2019): 143–59. http://dx.doi.org/10.2298/muz1926143n.
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Silence in film and understanding of silence in the seventh art poses many questions. The results of the analysis of these four films gave their unique answers to the said questions. The unique relationship of silence and sound was considered, and the reason for dedicating equal attention to both ends of this important spectre was to reach better understanding of the films that served as case studies, as well as to understand message or messages that were given to the viewers in conjuction with the action on screen (or lack thereof). Special attention was also given to several elements that, I believe, play vital part in understanding the usage of silence in film, such as: character?s behaviour and body language as well as his appearance, his relationship with other characters, and, maybe most important, the reason why director chose to build specific sound world around the particular character. Jef Costello (Le Samourai), as a character, is defined by his cold exterior, few words and little to no dialogue he exchanges with other characters - silence is inherent to him as a person. Goya?s Ghosts is the perfect example of the biopic that can be built around one specific information from a person?s biography. Of course, I?m speaking of Goya?s loss of hearing which was illustrated in the film via his relationship with other characters and also via the fact that, like Costello, he expresses himself using body language, except it is for entirely different reasons. In the third case study, George Valentin is a character whose profession is silence and who refuses to give it up for the sake of new technological advancement in films - sound, the sole enemy to his professional survival (the very film The Artist is a silent movie depicting this golden era of film history). Last case study provides an insight into the nature of vow of silence, especially in stoic sense of the word. Namely, character Frank Valera takes a vow of silence until he avenges his family and the basis for his vow is the book Meditations which Marcus Aurelius wrote. Equipped with the appropriate theoretical apparatus, these four ?views? on silence show how silence can be understood and presented in diverse ways. Directors may use it to reach better effectiveness of the film they direct and that fact has been, ultimately, manifested through four unique types of silence: 1) silence as the absence of dialogue and as dominant ?sound landscape? of the film, filled with ambient sounds and, therefore, realistic (Le Samourai), 2) loss of auditory world and entrance into the embrace of silence (Goya?s Ghosts), 3) genre-specific silence (The Artist) and 4) stoic silence (Acts of Vengeance).
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Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (1998): 153–85. http://dx.doi.org/10.1017/s0261143000000581.
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When we become engaged with a music video, what draws us in? What constitutes craft or artistry in the genre? Theorists of music video have usually addressed these questions from the perspective of sociology, film theory or popular cultural studies. Film theory, in particular, has had a tremendous influence on the analysis of music video, because of the two genres' apparently similar structuring of sound and image. But by the criteria of film, music videos tend to come off as failed narratives; the genre's effectiveness eludes explanation.
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Bhattacharya, Indranil. "Sound and the masters: The aural in Indian art cinema." Studies in South Asian Film & Media 12, no. 1 (2021): 49–66. http://dx.doi.org/10.1386/safm_00037_1.
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The study of art cinema has emerged as a richly discursive, but, at the same time, a deeply contested terrain in recent film scholarship. This article examines the discourse of art cinema in India through the prism of sound style and aesthetics. It analyses the sonic strategies deployed in the films of Satyajit Ray, Ritwik Ghatak, Mrinal Sen and Mani Kaul, in order to identify the dominant stylistic impulses of sound in art cinema, ranging from Brechtian epic realism on one hand to Indian aesthetic theories on the other. Locating sound as a key element in the discourse of art cinema, the article surveys the different modes through which aesthetic philosophies were translated into formal strategies of sound recording, designing and mixing. Using previous scholarship on art cinema in India as the point of departure, this study combines theoretically informed textual analysis with new historical insights on Indian cinema.
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Geraghty, Niall HD. "Sonorous memory in Jonathan Perel’s El predio (2010) and Los murales (2011)." Memory Studies 13, no. 6 (2018): 1256–83. http://dx.doi.org/10.1177/1750698018790120.
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Throughout his filmic production, Argentine director Jonathan Perel has demonstrated strict adherence to a unique aesthetic programme in which human agents appear to have only a minimal role. Each film contains only diegetic sounds and consists of fixed shots of architectural spaces and objects closely associated with the most recent Argentine military dictatorship (1976–1983) and recent attempts to memorialise the atrocities they committed. Through the close analysis of Perel’s first two films – El predio (2010) and Los murales (2011) – this article focusses on Perel’s highly distinctive use of environmental sound and argues that they are, in fact, uniquely musical works. Drawing on the work of John Cage, Michel Chion, Deleuze and Guattari, and Doreen Massey, the article proposes that Perel manipulates sound in order to situate debates over the memorialisation of recent atrocities in a perpetual present and thus critique contemporary abuses of power in Argentina.
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Hirschfeld-Kroen, Leana. "Weavers of Film." Feminist Media Histories 7, no. 3 (2021): 104–34. http://dx.doi.org/10.1525/fmh.2021.7.3.104.
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This article uses AT&T’s 1910s–30s “Weavers of Speech” campaign to read on-screen telegraph and telephone operators as vernacular translators of cinematic syntax and hypervisible avatars for the invisible cutter girls who “knitted the pieces of film together” on studio lots. While operators largely played peripheral roles in classical films, two transitional periods saw them rise to the surface of story en masse, as if temporarily hired to sew over a rupture. A comparative analysis of telephone girls’ enlistment as temp techno-pedagogues during US film’s introduction of crosscutting and European film’s polyglot transition to sound suggests women’s film-weaving labor as an alternative to the surgical rhetoric (suture) and auteur models that dominate theories of film editing. More broadly, the article suggests that the culturally conspicuous feminization of low-level information labor offers feminist film historians a crucial “mediatrix” for uncovering woman workers hidden in the cut of film.
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Kokkola, Sari. "The Role of Sound in Film Translation: Subtitling Embodied Aural Experience in Aki Kaurismäki’s Lights in the Dusk." TTR 27, no. 2 (2016): 17–47. http://dx.doi.org/10.7202/1037744ar.
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The purpose of this article is twofold. First, by adopting a film studies-oriented approach to AVT it seeks to build common ground between translation studies and film studies—two disciplines that have remained curiously distant from each other, even though the film and translation industries are closely interrelated at the practical level. Second, by introducing study of the aural dimension of audiovisual texts—in particular film sound—to AVT, this article presents a new concept of text for AVT research that allows for the analysis of audiovisual texts as dynamic entities consisting of the visual, the aural and the verbal. These are seen as equally important constituent parts of audiovisual texts; they do not simply coexist but transform each other at the moment of perception. The role of sound in film translation is examined by applying phenomenologically informed theories of film sound, mainly Michel Chion’s (1994) theory of audio-vision, to the context of film subtitling. According to Chion, film viewing is based on cross-modal perception, i.e. synchronous sound and image are experienced as a unit, a “synchresis” (ibid., p. 63). Chion argues that filmic image and sound transform each other at the moment of perception, producing added value (ibid., p. 5). These audiovisual combinations not only address the viewer at the conceptual level but also contribute to the intensity and flow of the viewing experience that is to a large extent conveyed non-verbally. This paper argues that the translator’s decisions influence the added value created by image and sound and direct the viewer’s perception of a film, often overemphasizing the verbal element, thus narrowing the film’s non-verbally conveyed meanings and decreasing its emotional and esthetic appeal. These points are illustrated by presenting examples of the English and German subtitled versions of Aki Kaurismäki’s film Laitakaupungin valot (Lights in the Dusk).
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Claydon, E. Anna. "Analysing Film Through Music: How Musicology Can Aid in the Analysis of Film Sound and Narrative." International Journal of the Humanities: Annual Review 4, no. 7 (2007): 99–106. http://dx.doi.org/10.18848/1447-9508/cgp/v04i07/41965.
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Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (2020): 13. http://dx.doi.org/10.3390/arts9010013.
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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch’s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch’s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch’s writing style. The relatively early emergence of self-reflexive and “self-conscious” moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.
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Ishfaque, Asif, and Byungki Kim. "Squeeze film damping analysis of biomimetic micromachined microphone for sound source localization." Sensors and Actuators A: Physical 250 (October 2016): 60–70. http://dx.doi.org/10.1016/j.sna.2016.09.010.
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SHIMOKOBE, Yuji, Takao YAMAGUCHI, Shu SATO, et al. "Sound Insulation Analysis for High Performance Double Walls Included Thin-Film Cells." Proceedings of the Dynamics & Design Conference 2019 (2019): 340. http://dx.doi.org/10.1299/jsmedmc.2019.340.
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Yoon, Sung Hye, and Won Duk Lee. "Sound analysis of Jia Zhangke’s Film: Focusing on films 〈A Touch of Sin〉 and 〈Xiao Wu〉." Cine forum 33 (August 31, 2019): 81–117. http://dx.doi.org/10.19119/cf.2019.08.33.81.
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WHITE, DANIEL. "One Does Not Simply Walk into Mordor." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (2020): 93–117. http://dx.doi.org/10.3828/msmi.2020.7.
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The opening sequences of narrative films are perhaps the most important moments for establishing a coherent film-world and drawing a viewer into a space and time often quite different from their own, and yet these moments remain largely untheorised within film studies and film music theory in particular. This article analyses the uses of music and sound in the opening sequences of Peter Jackson’s Middle-earth trilogies: The Lord of the Rings (2001-2003) and The Hobbit (2009-2011). The paratextual nature of opening sequences might lead us to understand them as theoretical gateways or airlocks, but it is the psychoanalytical concept of suture that proves most effective in theorising music’s dual roles in drawing an audience into a film-world and simultaneously building that world around them. This paper’s motivic and harmonic investigation draws particularly on Scott Murphy’s theories of transformational analysis to understand the different ways that musical language can be established as a form of cinematic suture.
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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 sensuality formulated by Vivian Sobchack and Laura U. Marks, among others. I mainly focus on the use of sound, in particular the role of sound design in the creation of haptic space. With the help of the analysis of the representation and artistic invocation of the different bodily senses in the film, I demonstrate how traditional artistic formal elements (characteristic of highly artistic, even experimental productions) are combined with high impact effects often present in popular film forms. I argue that the successful combination of these two factors makes the film an example of artistic immersive cinema.1
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Pratama, Andri Albertha, and Santosa Soewarlan. "SEMIOSIS PROCESS IN THE SOUNDS OF GAMELAN AND PESINDEN IN SANDEKALA FILM." Capture : Jurnal Seni Media Rekam 11, no. 1 (2019): 60–80. http://dx.doi.org/10.33153/capture.v11i1.2664.
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The research investigates the use of the sign (code) used by Amriy Ramadhan as the director when delivering messages through the sounds of ‘gamelan’ and ‘pesinden’ in the Sandekala film. Conflicts emerged when the signs that are used have broad interpretations for the audience. The signs are discribed and analyzed using the ten-sign classification analysis method from the Peirce semiotic trichotomy concept. This study shows the important meaning of the semiosis process of the distribution of other signs which in their presentation are interrelated to lead the audience's interpretation in the sounds of ‘gamelan’ and ‘pesinden’ presented in the Sandekala film. The using signs which the characteristic based are generally accepted convention such as non-verbal dialect (kinesics) can lead the audience's interpretation that the sound of ‘gamelan’ and ‘pesinden’ in the Sandekala film is a metonym of magical figure who has long hair, white dress based on the semiosis process of signs which are interrelated in the presentation of the narrative structure of the film with repeated indexical relationship patterns.
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Anosova, Nina Aleksandrovna, and Nina Alexandrovna Anosovа. "Color and Sound in Balzac's Novels." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 66–83. http://dx.doi.org/10.17816/vgik2166-83.
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This paper analyzes the dramatic color of Honore de Balzac's novels "Shagreen" (1831) and "Father Goriot" (1834). Using symbolic colors, different color details and motives, color and light accents, decoloration Balzac creates dramatic contrasts, transforms the time, reveals the inner state of the characters. The writer's works are the result of the brilliant application of the reflex theory to literature suggested by Eugene Delacroix, a painter and Balzac's contemporary. Artistic intensity and the diversity of color elements in Balzac's novels are one of the vivid steps on the way to the chromatic and not just color cinema as Eisenstein wrote. The correlation of prose and film was one of the main subjects of Nina Anosova's research. A talented literary and film scholar and teacher, a Moscow Institute of Philosophy, Literature and Histroy Institute (IFLI) graduate, she spent over 55 years teaching at VGIK. Such prominent filmmakers as Marlene Khutsiev, Andrei Tarkovsky, Vasily Shukshin, Gennady Shpalikov, Yuri Arabov, Karen Shakhnazarov, Vadim Abdrashitov, Sergey Loznitsa, etc. were among her pupils. The students and graduates of the Institute of Cinematography constantly turn to her works, learning real (deep) analysis and understanding of literature and art.
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Kitapci, Kivanc, and Dogukan Ozdemir. "An interdisciplinary sound classification framework for environmental sound design." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 5 (2021): 1130–41. http://dx.doi.org/10.3397/in-2021-1761.
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One of the objectives of architectural design is to create multi-sensory environments. The users are under the influence of a wide variety and intense perceptual data flow when users experience a designed space. Architects and environmental designers should not ignore the sense of hearing, one of the most important of the five primitive senses that allow us to experience the physical environment within the framework of creative thinking from the first stage of the design process. Today, auditory analysis of spaces has been studied under architectural acoustics, soundscapes, multi-sensory interactions, and sense of place. However, the current sound design methods implemented in the film and video game industries and industrial design have not been used in architectural design practices. Sound design is the art and application of making soundtracks in various disciplines and it involves recognizing, acquiring, or developing of auditory components. This research aims to establish a holistic architectural sound design framework based on the previous sound classification and taxonomic models found in the literature. The proposed sound design framework will help the architects and environmental designers classify the sound elements in the built environment and provide holistic environmental sound design guidelines depending on the spaces' functions and context.
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Jordan, Randolph. "The Ecology of Listening while Looking in the Cinema: Reflective audioviewing in Gus Van Sant'sElephant." Organised Sound 17, no. 3 (2012): 248–56. http://dx.doi.org/10.1017/s1355771811000458.
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This article argues that the state of spatial awareness engendered by the art of soundscape composition can be productively extended to the act of listening while looking in the cinema. Central to my argument is how Katharine Norman's concept ofreflective listeningin soundscape composition can be adapted toreflective audioviewingin the audiovisual context of film. Norman begins the process of intersecting film theory and the discourse of soundscape composition by appealing to famed Soviet filmmaker Sergei Eisenstein's theories of montage to illustrate how soundscape composition enables active listener engagement. I extend her discussion of Eisenstein to demonstrate how this filmmaker's thinking about sound/image synchronisation in the cinema – and R. Murray Schafer's own predilection for Eisensteinian dialectics – can be understood as a means towards the practice of reflective audioviewing. I illustrate my argument with an analysis of how the soundscape compositions of Hildegard Westerkamp have been incorporated into Gus Van Sant's filmElephant. Attention to the reflective qualities of Westerkamp's work open up new dimensions in our experience of the audiovisual construction of space in the film. Ultimately I argue that the reflective audioviewing prompted byElephantcan be carried into considerations of all films that make use of sound design for spatial representation.
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SHEPPARD, W. ANTHONY. "Cinematic realism, reflexivity and the American ‘Madame Butterfly’ narratives." Cambridge Opera Journal 17, no. 1 (2005): 59–93. http://dx.doi.org/10.1017/s0954586705001941.
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This article focuses on two cinematic versions of the ‘Madame Butterfly’ tale. Produced near the beginning of the sound era, the 1932 Madame Butterfly struggles to co-opt Puccini's opera and thereby create a fully cinematic Butterfly. My Geisha, created three decades later, aspires to subvert Orientalist representation by reflecting back upon Puccini's and Hollywood's Butterflies with hip sophistication. Both films work simultaneously with and against the Butterfly canon in intriguing ways and both are shaped by prevailing American perceptions of race and gender. In investigating the relationship between these films and Puccini's opera, I raise broader issues of comparative genre analysis, focusing particularly on exotic representation on stage and screen. Does film, in its bid to project exotic realism in both sound and image, succeed in surpassing the experience of staged Orientalist opera?
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Werenskjold, Rolf. "German pressure: Spy films and political censorship in Norway, 1914–40." Journal of Scandinavian Cinema 9, no. 3 (2019): 365–89. http://dx.doi.org/10.1386/jsca_00009_1.
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This article explores the relationship between spy films, political censorship and Norwegian foreign policy during the period from 1914 to 1940. Espionage was a popular topic in Norway during this era, both in the news media and as a theme in fictional dramas. Based on a survey of the vetting of 57 spy films, both silent and sound, by the state censorship board, the article focuses on the Norwegian government’s hidden role in political film censorship throughout the period. While Norway’s Constitution and film censorship statutes provided no legal foundation for political censorship, there is nonetheless ample evidence that it took place. The article concludes with an in-depth analysis of the process of banning the US film Confessions of a Nazi Spy in July 1939, the German involvement in that process, and the subsequent effort to change the censorship law to reflect what was happening in practice.
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Rinjani, Dian. "Mengkaji Film The Curious Case of Benjamin Button dengan Semiotika." Edsence: Jurnal Pendidikan Multimedia 1, no. 1 (2019): 35–42. http://dx.doi.org/10.17509/edsence.v1i1.17941.
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ABSTRAK Film merupakan salah satu bidang yang relevan bagi analisis semiotika. Analisis semiotik pada film berlangsung pada teks yang merupakan struktur dari produksi tanda. Bagian struktur penandaan dalam film biasanya terdapat dalam unsur tanda paling kecil, dalam film disebut scen. Penelitian ini dilakukan dengan menggunakan pendekatan kualitatif. Pendekatan ini dianggap sesuai, dengan prosedur yang dilakukan peneliti,, menghasilkan data deskriptif berupa kata kata yang dihasilkan dari mengamati tanda tanda berupa visual, gambar bergerak, bahasa tubuh dan audio/suara yang terdapat dalam film The Curious Of Benjamin Button. Ruang lingkup penelitian ini adalah beberapa potongan adegan yang mewakili film The Curious Of Benjamin Button. Bisa ditarik kesimpulan bahwa di dalam sebuah film seperti The Curious Of Benjamin Button penonton bisa membaca tanda yang diberikan oleh pemeran pemeran film The Curious Of Benjamin Button. Melalui tanda-tanda seperti suara, gerakan tubuh, raut muka,, tampilan tokoh-tokoh dan lainnya yang ada di dalam film, penonton dapat menyimpulan isi sebuah film dari tanda tanda yang diberikan oleh sutradara selama film berlangsung. Oleh karena itu dalam membuat film seperti pengambilan gambar dan semua unsur-unsur yang ada didalam sebuah film tidak bisa dibuat dengan sembarangan. Apabila pembuatan film dibuat sembarangan cerita atau maksud dari sutradara tidak akan tersampaikan dengan baik. Kata kunci: Film, Semiotika, Proxemics, Visual, Tanda. ABSTRACT Film is one of the relevant fields for semiotic analysis. The semiotic analysis of the film takes place in the text which is the structure of the sign production. Part of the marking structure in a film is usually contained in the smallest sign element, in a film called a scen. This research was conducted using a qualitative approach. This approach is considered appropriate, with the procedure carried out by the researcher, producing descriptive data in the form of words produced from observing signs in the form of visual, moving images, body language and audio / sound contained in the film The Curious Of Benjamin Button. The scope of this research are several scenes that represent the film The Curious Of Benjamin Button. It can be concluded that in a film like The Curious Of Benjamin Button, the audience can read the sign given by the cast of the film The Curious Of Benjamin Button. Through signs such as sound, body movements, facial expressions, the appearance of characters and others in the film, the audience can conclude the contents of a film from the signs given by the director during the film. Therefore, in making films such as taking pictures and all the elements in a film cannot be made carelessly. If the filmmaking is made carelessly the story or the director's intentions will not be conveyed properly. Keywords: Films, Semiotics, Proxemics, Visuals, Signs
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Knotek, V., P. Korandová, R. Kalousková, and M. Ďurovič. "Study of triacetate cinematographic films and magnetic audio track by infrared spectroscopy." Koroze a ochrana materialu 62, no. 1 (2018): 26–32. http://dx.doi.org/10.2478/kom-2018-0005.
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Abstract Most of the cinematographic film collections stored in film archives are made on a triacetate base, and from the 1950s to the 1980s, a magnetic track was used to record sound. With a large number of archive materials, archives often do not know the chemical composition of film bases, history of use and degradation rates. Therefore, the chemical composition of three films with a magnetic audio track and one representative of the modern film FOMAPAN were investigated by infrared spectroscopy. Selected samples were artificially aged at elevated temperatures and humidity, and the rate of degradation of the film was evaluated by infrared spectroscopy, dimensional changes and gravimetric analysis. Based on the measurements, all of the examined films were made from cellulose triacetate and the binder of the magnetic trackswas cellulose nitrate. To determine the degree of degradation of the binder of the audio track and the triacetate base, a degradation index was created which expresses the ratio of the bandwidths of the characteristic groups in the infrared spectra. It is shown that infrared spectroscopy makes it easy to determine the chemical composition of cinematographic films and to quantify the rate of degradation and the current state of the film base using a suitably chosen degradation index.
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Lewis, Hannah. "“The Music Has Something to Say”: The Musical Revisions of L'Atalante (1934)." Journal of the American Musicological Society 68, no. 3 (2015): 559–603. http://dx.doi.org/10.1525/jams.2015.68.3.559.
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L'Atalante (1934), the second collaboration between experimental French filmmaker Jean Vigo and composer Maurice Jaubert, has become a staple in the cinephile canon. But its profound influence on postwar filmmakers could not have been anticipated at the time of its disastrous initial release. As Vigo lay on his deathbed, the film's producers, finding L'Atalante narratively incoherent, attempted to make it more broadly accessible, replacing parts of Jaubert's score with the popular song “Le chaland qui passe” and renaming the film after the hit tune. These changes subtly altered an important narrative subtext of the film—a reflexive fixation on the recent arrival of synchronized sound film, expressed through a focus on musical playback technologies (phonographs, radios, and music boxes) and their ability to captivate. In this article, through a comparative analysis of scenes from L'Atalante (which has subsequently been restored) and Le chaland qui passe (the only surviving copy of which is housed at the Cinémathèque Royale de Belgique), I show how the differences between the two versions reflect a general anxiety over the arrival of sound film in France. Vigo's fascination with mediated music and its ability to create a magical cinematic world, and the distributors' attempt to fit the film's music into a commercially successful paradigm, reflect contemporary concerns about the potential impact of mediated sound on French cinema. Through my analysis, I demonstrate how film practitioners grappled with technological changes, using music as a powerful interventional force.
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Elsaket, Ifdal. "SOUND AND DESIRE: RACE, GENDER, AND INSULT IN EGYPT'S FIRST TALKIE." International Journal of Middle East Studies 51, no. 2 (2019): 203–32. http://dx.doi.org/10.1017/s0020743819000023.
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AbstractThis article explores the coloniality of gender, sexuality, and desire, and the links between nationalist and commercial imperatives, in the making of Egypt's first sound film, or talkie, in 1932. Through an analysis of the politics, economy, and memory of Yusuf Wahbi's filmAwlad al-Dhawat(Sons of the Aristocrats), it shows how the interplay between new sound technologies, the global film trade, and nationalist and racialized narratives of gender and resistance shaped the contours of ideal femininity and masculinity during the interwar period in Egypt. The article also shows how the film's representations formed at the intersection between the filmmakers’ attempts to challenge colonial stereotyping and their efforts to capture an ever-expanding global film market. Often neglected in cinema scholarship, early filmmaking in Egypt, I argue, is critical to understanding wider processes of nation formation and gendered characterizations.
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Cho, Gue Serb, Won Sik Lee, Se Hyun Ko, Seong Ho Son, Chang Woo Lee, and Jun Ki Kim. "Vibration Characteristics of Ni Thin Film Diaphragm by Acoustic Wave." Advanced Materials Research 97-101 (March 2010): 2361–64. http://dx.doi.org/10.4028/www.scientific.net/amr.97-101.2361.
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Vibration characteristics of 5μm- thick Ni film were investigated with applying acoustic wave to the Ni diaphragm of 2mm x 2mm unit size. In the modal analysis, the first resonance mode of the diaphragm showed an out-of-plane piston-like movement and the first natural frequency was 1,643 Hz, whereas in this experiment, the first natural frequency appears at about 1,300 Hz under sound pressure of 0.2 Pa. The amplitudes of diaphragm increase with increase of sound pressure level in the applied frequency range from 300 Hz to 1,000 Hz, indicating that area of diaphragm influences directly the amplitude.
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Mikheeva, Yulia Vsevolodovna. "Musical Minimalism in the Movies: the Metamorphoses of Time and the Emergence of Sound." Journal of Flm Arts and Film Studies 5, no. 3 (2013): 43–51. http://dx.doi.org/10.17816/vgik5343-51.
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The article analyses the role of musical minimalism in the aesthetic perception and theoretical interpretation of a film. This analysis is based on two phenomena: the transcendizing of the artistic space via the inherent value of an isolated sound and the change in the meaning of time through the repetitiveness of musical techniques.
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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry." Problems of World History, no. 11 (March 26, 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.
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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries.
 The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies.
 A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century.
 The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.
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Mikheeva, Yulia Vsevolodovna. "Musical Minimalism in the Movies: the Metamorphoses of Time and the Emergence of Sound." Journal of Flm Arts and Film Studies 5, no. 4 (2013): 42–51. http://dx.doi.org/10.17816/vgik5442-51.
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The article (the ending; for the beginning see Issue # 17) analyses the role of musical minimalism in the aesthetic perception and theoretical interpretation of a film. This analysis is based on two phenomena: the transcendizing of the artistic space via the inherent value of an isolated sound and the change in the sense of time through the repetitiveness of musical techniques.
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Lim, Seok-Jin and 김종완. "A Study on the Effect of Sound Design on Visual Images of Film －Analysis of －." journal of the moving image technology associon of korea 1, no. 26 (2017): 69–82. http://dx.doi.org/10.34269/mitak.2017.1.26.004.
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