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Journal articles on the topic 'Sound cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Birchall, Danny. "Found Sound, Cinema Without Cinema." Film Quarterly 62, no. 3 (2009): 68–70. http://dx.doi.org/10.1525/fq.2009.62.3.68.

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2

Calabretto, Roberto. "The Soundscape in Michelangelo Antonioni's Cinema." New Soundtrack 8, no. 1 (2018): 1–19. http://dx.doi.org/10.3366/sound.2018.0113.

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3

Vessa, Brian, and Kurt Graffy. "Cinema Sound Systems (25CSS)." SMPTE Motion Imaging Journal 124, no. 6 (2015): 21–23. http://dx.doi.org/10.5594/j18589e.

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4

Deutelbaum, Marshall. "ESSAYS IN CINEMA SOUND." New Review of Film and Television Studies 4, no. 1 (2006): 63–69. http://dx.doi.org/10.1080/17400300600577377.

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5

Roland, Anthony M. "Multiple sound picture projection cinema." Journal of the Acoustical Society of America 79, no. 5 (1986): 1648. http://dx.doi.org/10.1121/1.393227.

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6

Boyne, Roy. "Image and Sound in Cinema." Theory, Culture & Society 24, no. 7-8 (2007): 330–33. http://dx.doi.org/10.1177/0263276407086402.

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7

Sonnenschein, David. "Sound Spheres: A Model of Psychoacoustic Space in Cinema." New Soundtrack 1, no. 1 (2011): 13–27. http://dx.doi.org/10.3366/sound.2011.0003.

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8

Helmers, Maike. "Emil und die Detektive: Early German sound cinema aesthetic." New Soundtrack 4, no. 1 (2014): 41–57. http://dx.doi.org/10.3366/sound.2014.0051.

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9

Elvemo, Johan-Magnus. "Spatial perception and diegesis in multi-channel surround cinema." New Soundtrack 3, no. 1 (2013): 31–44. http://dx.doi.org/10.3366/sound.2013.0034.

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10

Candusso, Damian. "Digital 3D and the Contemporary Soundtrack: Competing Cinema Spaces." New Soundtrack 6, no. 1 (2016): 63–76. http://dx.doi.org/10.3366/sound.2016.0083.

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11

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

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For a long time, Japanese cinema has been developing separately, mastering the specifics of the new art, which came from the West, and at the same time trying to solve within its framework the problem of "national identity". However, since the 1950s, Japanese cinema has become widely known abroad and is gaining recognition in the West. The present day no one doubts the huge contribution of Japanese filmmakers to the history of world cinema. Nevertheless, the study of Japanese cinema in Russian cinema theory still remains the prerogative of a few professionals who know the Japanese language and

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12

Rees, Charles. "Four Views of Cinema: Searching for Ways of Experiencing Films." New Soundtrack 1, no. 1 (2011): 73–87. http://dx.doi.org/10.3366/sound.2011.0007.

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13

Corbella, Maurizio, and Anna Katharina Windisch. "Sound Synthesis, Representation and Narrative Cinema in the Transition to Sound (1926-1935)." Cinémas 24, no. 1 (2014): 59–81. http://dx.doi.org/10.7202/1023110ar.

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Since the beginnings of western media culture, sound synthesis has played a major role in articulating cultural notions of the fantastic and the uncanny. As a counterpart to sound reproduction, sound synthesis operated in the interstices of the original/copy correspondence and prefigured the construction of a virtual reality through the generation of novel sounds apparently lacking any equivalent with the acoustic world. Experiments on synthetic sound crucially intersected cinema’s transition to synchronous sound in the late 1920s, thus configuring a particularly fertile scenario for the redef

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14

Keefe, Anna V. "The unspoken languages of Alain Gomis’s cinema: space, sound, and the body." Contemporary French Civilization: Volume 47, Issue 1 47, no. 1 (2022): 67–88. http://dx.doi.org/10.3828/cfc.2022.4.

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This article examines the body, space, and sound in three of Franco-Senegalese director Alain Gomis’s feature films, Andalucia (2007), Tey (2012), and Félicité (2017). These narrative and aesthetic strategies situate Gomis’s work within Hamid Naficy’s concept of accented cinema and Laura Marks’s category of intercultural cinema. The multisensoriality of Gomis’s films, notably evoking the aural and tactile senses, expand my discussion beyond the visual and align his approach with current areas of inquiry in film studies. I argue that these unspoken languages offer new possibilities for consider

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15

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 artic

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16

Johnston, Nessa. "Beneath sci-fi sound." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 49–63. http://dx.doi.org/10.33178/alpha.3.04.

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Primer is a very low budget science-fiction film that deals with the subject of time travel; however, it looks and sounds quite distinctively different from other films associated with the genre. While Hollywood blockbuster sci-fi relies on “sound spectacle” as a key attraction, in contrast Primer sounds “lo-fi” and screen-centred, mixed to two channel stereo rather than the now industry-standard 5.1 surround sound. Although this is partly a consequence of the economics of its production, the aesthetic approach to the soundtrack is what makes Primer formally distinctive. Including a brief expl

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17

Power, Dominic. "Brueghel's Cinema: Sound and Image in The Mill and the Cross." New Soundtrack 1, no. 2 (2011): 147–56. http://dx.doi.org/10.3366/sound.2011.0016.

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18

Filippov, Sergei A. "WHEN DID THE CINEMA GO SOUND?" Articult, no. 3 (2019): 105–13. http://dx.doi.org/10.28995/2227-6165-2019-3-105-113.

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19

Long, Paul. "Earogenous zones: sound, sexuality and cinema." Porn Studies 2, no. 4 (2015): 367–69. http://dx.doi.org/10.1080/23268743.2015.1059571.

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20

Watkins, Liz. "Light, Colour and Sound in Cinema." Paragraph 25, no. 3 (2002): 117–28. http://dx.doi.org/10.3366/para.2002.25.3.117.

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21

Patronis, Eugene T. "Cinema sound system for unperforated screens." Journal of the Acoustical Society of America 93, no. 2 (1993): 1223. http://dx.doi.org/10.1121/1.405474.

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22

Zovko, Aljoša. "The Interplay of Silence, Diegetic Sound and Music in Contemporary German Cinema." Hum, no. 25 (February 4, 2022): 58–66. http://dx.doi.org/10.47960/2303-7431.25.2021.58.

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Scholarly works on film sound are vastly outnumbered by works on film visual aspects. One reason for this discrepancy lies in the “hegemony of the visual”. Another may be the dominance of the visual in the cinema viewing experience, which results in our being naturally less attuned to how we are affected by the aural aspect. Nonetheless, the interaction of music, diegetic sound, and silence plays a vital role in achieving the director’s intention in creating a film and is crucial to establishing the bond between the film and its viewer. In his paper, the author shows, on the example of German

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23

Patil, Sanjay Sitaram. "Use of Physical Concepts in Musical Instruments and their Use in Cinema." VEETHIKA-An International Interdisciplinary Research Journal 6, no. 4 (2020): 1–4. http://dx.doi.org/10.48001/veethika.2020.06.04.001.

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Cinema without music is now a days beyond imagination. Whatever musical instruments used in the making of Cinema are based on Physical Concepts. One of the concepts is frequency. Frequency is nothing but the number of vibrations per second. Different frequencies forms melodious compositions. There are many musical instruments like Pan flute, Sitar, Violin, Harmonium etc are all Physical Concepts dependent musical instruments. How Physical Concepts play important role in the making of such musical instruments is presented in this paper. Unwanted continuous disturbance due to vibrations in air i

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24

김수환. "Revolution and Sound: Transitional Implications of Sound in Soviet Cinema." Korean Journal of Slavic Studies 33, no. 1 (2017): 129–58. http://dx.doi.org/10.17840/irsprs.2017.33.1.005.

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25

Chion, Michel. "False Reality in the Audio-Logo-Visual Sphere: on Science and Cinema." New Soundtrack 2, no. 1 (2012): 23–38. http://dx.doi.org/10.3366/sound.2012.0025.

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26

Chattopadhyay, Budhaditya. "The auditory spectacle: designing sound for the ‘dubbing era’ of Indian cinema." New Soundtrack 5, no. 1 (2015): 55–68. http://dx.doi.org/10.3366/sound.2015.0068.

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27

Tsukernikov, Ilya, and Alexandr Fadeev. "RESULTS OF A SERIES OF ACOUSTIC MEASUREMENTS OF NOISE PENETRATING THROUGH THE PARTITION BETWEEN TWO CINEMAS." Akustika 32 (March 1, 2019): 195–200. http://dx.doi.org/10.36336/akustika201932195.

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The number of cinemas has increased over the past 10 - 15 years in Russia. The main part of new cinemas is multiplex cinemas in the shopping and entertainment malls. It is mean that in multiplex two cinemas may show the movies at the same time. The problem of airborne sound isolating by a partition/slab between two multiplex cinemas halls is considered. The analysis of the regulatory and technical documents (the International Standard, and the national documents of the Russian Federation, as well as the corporative standards of international cameramen) is done. The levels of penetrating noise

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28

Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 1 (2012): 1–2. http://dx.doi.org/10.5195/cinej.2012.59.

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29

SAMUR, Serpil. "THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 28 (2021): 101–15. http://dx.doi.org/10.31623/iksad072808.

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Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world

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30

Heinemann, David. "The Creative Voice: Free Indirect Speech in the Cinema of Rohmer and Bresson." New Soundtrack 2, no. 1 (2012): 39–49. http://dx.doi.org/10.3366/sound.2012.0024.

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31

Kytö, Meri. "Cultural Intimacy in the Practice of Sound Post-production in Turkish Yeşilçam Cinema." New Soundtrack 7, no. 2 (2017): 153–63. http://dx.doi.org/10.3366/sound.2017.0106.

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32

WALKER, ALISON. "Sonic Space and Echoes of the Flesh." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (2020): 119–39. http://dx.doi.org/10.3828/msmi.2020.8.

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This essay argues that the cinematic experience for audiences be reconsidered as a cinesomatic experience. Theorists such as Vivian Sobchack (1992; 2000; 2005) and Jennifer Barker (2009) have done much to conceptualise and theorise a sensory, embodied experience of cinema. These scholars, mainly drawing from either a Merleau-Pontian phenomenology or a Spinozist/Deleuzian theory of affect, have led the wave of new writings probing the ways in which audience engagement with film is corporeal. Their work explores cinema in terms of visual and haptic engagements, congruous with a broader move in s

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33

Kosinova, Marina Ivanovna. "Soviet cinema as a state budget’s contributor. Distribution in the 1930s." Journal of Flm Arts and Film Studies 6, no. 1 (2014): 8–22. http://dx.doi.org/10.17816/vgik618-22.

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The idea of replacing revenues from alcohol sale with income from cinema attendance was put forward by L. Trotsky in Soviet Russia in the early 1920s. At the stage of transition from silent cinema to the sound one this idea received a significant number of supporters. Anyhow attendance statistics proved a considerable gap between alcohol profitability and yield, calculated on theatre booking. In order to heal the situation quite a number of new cinemas had to be built. Since the state did not have adequate resources at its disposal, it was decided to refurbish the churches into cinema theatres

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34

Slowik, Michael. "'The Plasterers' and Early Sound Cinema Aesthetics." Music, Sound, and the Moving Image 4, no. 1 (2010): 55–75. http://dx.doi.org/10.3828/msmi.2010.3.

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35

Kerins, Mark. "Narration in the Cinema of Digital Sound." Velvet Light Trap 58, no. 1 (2006): 41–54. http://dx.doi.org/10.1353/vlt.2006.0030.

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36

Kahn, Douglas. "Sound Technology and the American Cinema (review)." Modernism/modernity 8, no. 2 (2001): 337–38. http://dx.doi.org/10.1353/mod.2001.0027.

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37

Chedeville, Pascal. "High fidelity reproduction device for cinema sound." Journal of the Acoustical Society of America 100, no. 1 (1996): 24. http://dx.doi.org/10.1121/1.415935.

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38

Tronchin, L., and N. Scaroni. "Cinema Sound: Characteristics and 3D Acoustic Measurements." Journal of Physics: Conference Series 1655 (October 2020): 012079. http://dx.doi.org/10.1088/1742-6596/1655/1/012079.

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39

Langkjær, Birger. "Spatial Perception and Technologies of Cinema Sound." Convergence: The International Journal of Research into New Media Technologies 3, no. 4 (1997): 92–107. http://dx.doi.org/10.1177/135485659700300408.

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40

Hoar, Peter. "“A Lucid lecturess”: The Voices of New Zealand’s Silent Cinema." Back Story Journal of New Zealand Art, Media & Design History, no. 1 (December 1, 2016): 81–96. http://dx.doi.org/10.24135/backstory.vi1.14.

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This article attempts to record some of the faint echoes left from the days of silent cinema in New Zealand. Sound has been an integral part of cinematic experience in New Zealand since the very first exhibitions during 1895 but the acoustic dimension of film has been little explored by local historians and media scholars. Cinema audiences listened as much as they watched and these sounds were generated by many sources from gramophones to orchestras. This article concentrates on just one aspect of this richly polyphonic cinematic soundscape: the human voice. Through a discussion of the ways in

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41

Machin, G. I. T. "British Churches and the Cinema in the 1930s." Studies in Church History 28 (1992): 477–88. http://dx.doi.org/10.1017/s0424208400012638.

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With the possible exception of the ‘wireless’, the cinema was the most popular form of entertainment in Britain from the 1920s to the 1950s, when attendances began to decline and cinemas to close because of the competing power of television. On the eve of the Second World War, television was still in struggling infancy, while the number of cinemas had grown from some 3,000 in 1914 to about 5,000 in 1939, some of the recent ones having been built on a palatial scale. The introduction of sound films in 1929 enhanced the cinema’s popularity, and by 1939 annual attendances exceeded 1,500 million.

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42

Marghitu, Stefania. "Music, Sound and Filmmakers: Sonic Style in Cinema." Popular Music and Society 37, no. 3 (2013): 376–79. http://dx.doi.org/10.1080/03007766.2013.821745.

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43

Cuff, Paul. "Encountering sound: the musical dimensions of silent cinema." Journal of Aesthetics & Culture 10, no. 1 (2018): 1424484. http://dx.doi.org/10.1080/20004214.2018.1424484.

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44

Smith, Jeff, Dominic Topp, Jason Gendler, and Francesco Sticchi. "Book Reviews." Projections 13, no. 1 (2019): 91–111. http://dx.doi.org/10.3167/proj.2019.130106.

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Giorgio Biancorosso, Situated Listening: The Sound of Absorption in Classical Cinema (Oxford: Oxford University Press, 2016), xi + 246 pp., $55 (hardback), ISBN: 9780195374711. Reviewed by Jeff SmithLea Jacobs, Film Rhythm after Sound: Technology, Music, and Performance (Oakland: University of California Press, 2015), 280 pp., $34.95 (paperback), ISBN: 9780520279650. Reviewed by Dominic ToppMiklós Kiss and Steven Willemsen, Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh: Edinburgh University Press, 2017), 240 pp., £70.00 (hardback), £19.00 (paperback),

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45

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 emer

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46

Flores, Silvana. "Vínculos transnacionales entre México y Estados Unidos: la figura de José U. Calderón en la transición al cine sonoro /Transnational links between Mexico and United States: the figure of José U. Calderón in the transition to sound cinema." Kamchatka. Revista de análisis cultural., no. 10 (December 29, 2017): 513. http://dx.doi.org/10.7203/kam.10.10821.

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Resumen: Proponemos indagar un aspecto de la cinematografía mexicana que ha tenido poca difusión en la historiografía sobre el cine de ese país: las actividades realizadas por el empresario mexicano José U. Calderón en relación a sus conexiones con Estados Unidos, en pos de las experimentaciones que signaron al período inicial del cine sonoro, que incluyeron la expansión de los cines nacionales tanto internamente como en el mercado exterior por medio de la distribución y exhibición de films. Para ello, se desglosarán diferentes aspectos que Calderón ha logrado desarrollar dando como resultado

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47

Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.

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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the

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48

Chattopadhyay, Budhaditya. "The cinematic soundscape: conceptualising the use of sound in Indian films." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 2 (2012): 65–78. http://dx.doi.org/10.7146/se.v2i2.6398.

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This article examines the trajectories of sound practice in Indian cinema and conceptualises the use of sound since the advent of talkies. By studying and analysing a number of sound- films from different technological phases of direct recording, magnetic recording and present- day digital recording, the article proposes three corresponding models that are developed on the basis of observations on the use of sound in Indian cinema. These models take their point of departure in specific phases of technological transitions and intend to highlight characteristics defining the sound aesthetics tha

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49

Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.

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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The

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50

Mikheyeva, Yulia Vsevolodovna. "Silence of the Author: Semantics of Muting in Cinema." Journal of Flm Arts and Film Studies 6, no. 3 (2014): 91–102. http://dx.doi.org/10.17816/vgik6391-102.

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The article analyses various forms and meanings of the directors deliberate abandonment of sound and/or music both on screen and off screen. The absence of the soundtrack is defined in such terms as reverberant silence, generating silence, intimate silence, inex-pressible stillness, after-sound silence, silence as absence, which characterize the directors aesthetic attitude towards the image.

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