Log in

Relevant bibliographies by topics / Sound moving-pictures

Contents

Journal articles
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Sound moving-pictures'

Author: Grafiati

Published: 26 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sound moving-pictures.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Sound moving-pictures"

1

Duffy, Celia. "The Moving Pictures and Sound Cluster." VINE 35, no. 1/2 (March 2005): 22–23. http://dx.doi.org/10.1108/03055720510588425.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Joshi, Ms Shivani. "Translating “Printed Texts” into the “Moving Pictures – Film”." International Journal of English Literature and Social Sciences 7, no. 5 (2022): 075–79. http://dx.doi.org/10.22161/ijels.75.13.

Full text

Abstract:

Literature is a mirror to society: a way of imparting knowledge, sharing ideas and thoughts, and bringing revolutions in the civilization. When it comes to literature, the treasure of literature lies in the vernacular language and which needs to be translated into the globally accepted language in order to make it available to each stratum of the society. Traditionally “Translation Literature” means “translating literature of one language to another language in authentic way”, however, there is a surge in research probing the parallels between translation and adaptation process. What is available in the form of printed text in one language is translated not only into the printed text in another language but also into the language of sound and moving objects. This paper attempts to examine how “Literature” in one language translated into “Cinema”. When a book is translated into the film, a scriptwriter makes certain changes by adding the essence through the appropriate dialogue: while working with language, he translates and adapts relevantly for the modern audience - translating a written text from one language into another language and the another medium.

APA, Harvard, Vancouver, ISO, and other styles

3

Kalinak. "The Dickson Experimental Sound Film, Popular Music, and the Invention of Moving Pictures." Film History 31, no. 4 (2019): 61. http://dx.doi.org/10.2979/filmhistory.31.4.03.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Shizhang, Yang, and Xue Xiwen. "The multimodality of Russian TV series: interactive meaning and foreign reception." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-2 (April 1, 2023): 130–39. http://dx.doi.org/10.31166/voprosyistorii202304statyi65.

Full text

Abstract:

Russian television series, as a product of Russian culture, reflect the social landscape of Russia and its values. According to semiotics and multimodality, a television series is a kind of film and TV texts, consisting of different modes. This paper revealed the modal diversity of semantic sources of film and TV texts, and also systematically explored the role of five types of modes, including moving pictures, speech, written credits, music and sound effects in the construction of a semantic gestalt of text.

APA, Harvard, Vancouver, ISO, and other styles

5

Powell, Alan. "Why Do Vortices Generate Sound?" Journal of Mechanical Design 117, B (June 1, 1995): 252–60. http://dx.doi.org/10.1115/1.2836464.

Full text

Abstract:

Emphasizing physical pictures with a minimum of analysis, an introductory account is presented as to how vortices generate sound. Based on the observation that a vortex ring induces the same hydrodynamic (incompressible) flow as does a dipole sheet of the same shape, simple physical arguments for sound generation by vorticity are presented, first in terms of moving vortex rings of fixed strength and then of fixed rings of variable strength. These lead to the formal results of the theory of vortex sound, with the source expressed in terms of the vortex force ρ(u∧ ζ) and of the form introduced by Mo¨hring in terms of the vortex moment (y∧ ζ′), (ρ is the constant fluid density, u the flow velocity, ζ = ∇ ∧u the vorticity and y is the flow coordinate). The simple “Contiguous Method” of finding the contiguous acoustic field surrounding an acoustically compact hydrodynamic (incompressible) field is also discussed. Some very simple vortex flows illustrate the various ideas. These are all for acoustically compact, low Mach number flows of an inviscid fluid, except that a simple argument for the effect of viscous dissipation is given and its relevance to the “dilatation” of a vortex is mentioned.

APA, Harvard, Vancouver, ISO, and other styles

6

Powell, Alan. "Why Do Vortices Generate Sound?" Journal of Vibration and Acoustics 117, B (June 1, 1995): 252–60. http://dx.doi.org/10.1115/1.2838670.

Full text

Abstract:

Emphasizing physical pictures with a minimum of analysis, an introductory account is presented as to how vortices generate sound. Based on the observation that a vortex ring induces the same hydrodynamic (incompressible) flow as does a dipole sheet of the same shape, simple physical arguments for sound generation by vorticity are presented, first in terms of moving vortex rings of fixed strength and then of fixed rings of variable strength. These lead to the formal results of the theory of vortex sound, with the source expressed in terms of the vortex force ρ(u∧ ζ) and of the form introduced by Mo¨hring in terms of the vortex moment (y∧ ζ′), (ρ is the constant fluid density, u the flow velocity, ζ = ∇ ∧u the vorticity and y is the flow coordinate). The simple “Contiguous Method” of finding the contiguous acoustic field surrounding an acoustically compact hydrodynamic (incompressible) field is also discussed. Some very simple vortex flows illustrate the various ideas. These are all for acoustically compact, low Mach number flows of an inviscid fluid, except that a simple argument for the effect of viscous dissipation is given and its relevance to the “dilatation” of a vortex is mentioned.

APA, Harvard, Vancouver, ISO, and other styles

7

Liu, Saki, Fumiyuki Takishita, Jingjing Gao, Kae Ishida, and Shin-ichiro Iwamiya. "Synchronization and periodicity of auditory and visual accents affect perceived congruence between sound and moving pictures." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 2989. http://dx.doi.org/10.1121/1.4969257.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Krivulya, Natalia G. "The Origins of the First Sound Animation: Songs Series by the Fleischer Brothers." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 119–31. http://dx.doi.org/10.17816/vgik101119-131.

Full text

Abstract:

With the invention of moving pictures, the creators sought to supplement them with sound. Even before the invention of cinemat, E. Reynaud in the optical theatre gave performances in which moving images were combined with sound. It was pre-cinema experience, which represented the theatre model of audiovisual show. The attempts to synchronize the dynamic images and sound were taken by T. Edison, S. Meshes, L. Gaumont, O. Kellum, E.Tigerstedt, J. Engel, G. Phocht and J. Massol. However, the systems suggested by these inventors were not perfect. An important step towards creation of a sound film was the appearance of the optical sound recording system Phonofilm designed by Lee de Forest. In 1923, he became acquainted with Brothers Fleischer, outstanding American animators. Together with H. Riesenfeld and E. Fadiman they organized Red Seal Pictures Corporation and began to shoot Ko-Ko Song Car-Tunes, which consisted of a series of animated shots Sing-alongs (featuring the famous bouncing ball). It was a kind of multimedia shots, as there was no plot, no character and no narrative structure. They were created basing on popular songs, but did not illustrate them. The Sing-alongs shots were produced for the audience to sing their favorite songs before the session, while reading the text of the songs from the screen. The animated ball bouncing on the syllables helped them to follow the rhythm of the melody. These films became the prototype of the modern karaoke and music animated shows. The series were released from May 1924 till September 1927. The Fleshers created more than 45 shots, more than 19 of which using the Phonofilm. The first sound animated shots where the images were synchronized with the sound and recorded on the same media, were released in 1925. The film Come to Travel on My Airship was the first where the speech was heard, and in the shot My Old House in Kentucky the Fleischers managed to synchronize the speech with the facial expressions of cartoon characters as they were speaking. When the animating and shooting technology changed, the film structure underwent changes too. Detailed animation parts with the story content appeared. The text animation became variable as well. Since the 1930s, the shots have included scenes with singers and jazz-bands. The animated film series Ko-Ko Song Car-Tunes shot by the Brothers Fleischer established the principle of movement and sound synchronism in the animation. They not only out paced the sound films by P. Terry and W. Disney, which were considered to be the first sound animation films for a long time, but also proved that the sound animation had been possible and the thirty-year era of the silent animation came to an end.

APA, Harvard, Vancouver, ISO, and other styles

9

Wardani, Kartika Kusuma, Hertina Susandari, Anggra Ayu Rucitra, and Arya Weny Anggraita. "Recycling Pictures as Attract Point to Youngster in Campus Program Promotion." JURNAL ILMU KOMUNIKASI, no. 2 (December 10, 2018): 78–85. http://dx.doi.org/10.33005/jkom.v0i2.26.

Full text

Abstract:

Educational institutions need promotion tools to attract their segmentation. Promotion medium is used to increase awareness so that the youngster know about information and are interested to register themselves. A medium that has ability to show campus program in short time both attract them is using video. Video is a combination of moving image, sound, visual effect and has complex process to reach best visualization. On the other hand, sometimes the institution only has collection of documentation in photography format. The problem is how to use photo documentation to become short attractive video that shows whole institution programs. Final execution to recycle collection of pictures is using parallax style. This creation of style changes the photos to be more lifelike, which move with three dimensional cinematic effect.

APA, Harvard, Vancouver, ISO, and other styles

10

Malmvig, Helle. "Soundscapes of war: the audio-visual performance of war by Shi'a militias in Iraq and Syria." International Affairs 96, no. 3 (May 1, 2020): 649–66. http://dx.doi.org/10.1093/ia/iiaa057.

Full text

Abstract:

Abstract This article sets out to bring sound and music to the field of visual studies in International Relations. It argues that IR largely has approached the visual field as if it was without sound; neglecting how audial landscapes frame and direct our interpretation of moving imagery. Sound and music contribute to making imagery intelligible to us, we ‘hear the pictures’ often without noticing. The audial can for instance articulate a visual absence, or blast visual signs, bring out certain emotional stages or subjects’ inner life. Audial frames steer us in distinct directions, they can mute the cries of the wounded in war, or amplify the sounds of joy of soldiers shooting in the air. To bring the audial and the visual analytically and empirically together, the article therefore proposes four key analytical themes: 1) the audial–visual frame, 2) point of view/point of audition, 3) modes of audio-visual synchronization and 4) aesthetics moods. These are applied to a study of ‘war music videos’ in Iraq and Syria made and circulated by Shi'a militias currently fighting there. Such war music videos, it is suggested, are not just artefacts of popular culture, but have become integral parts of how warfare is practiced today, and one that is shared by soldiers in the US and Europe. War music videos are performing war, just as they shape how war is known by spectators and participants alike.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Sound moving-pictures"

1

Hillman, Neil. Sound for Moving Pictures. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Quinlan, David. British sound films: The studio years 1928-1959. Totowa, N.J: Barnes & Noble Books, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Alexander, Walker. The shattered silents: How the talkies came to stay. London: Harrap, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

International Federation of Film Archives., ed. Preservation and restoration of moving images and sound. Brussels, Belgium: FIAF, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Wolfgang, Klaue, ed. World directory of moving image and sound archives. München: K.G. Saur, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

British Universities Film & Video Council, ed. Moving image and sound, knowledge and access: The BUFVC handbook. 5th ed. London: British Universities Film & Video Council, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Hillman, Neil. Sound for Moving Pictures. Taylor & Francis Group, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hillman, Neil. Sound for Moving Pictures. Taylor & Francis Group, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Hillman, Neil. Sound for Moving Pictures: The Four Sound Areas. Taylor & Francis Group, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Hillman, Neil. Sound for Moving Pictures: The Four Sound Areas. Taylor & Francis Group, 2021.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Sound moving-pictures"

1

Hillman, Neil. "The Four Sound Areas." In Sound for Moving Pictures, 43–71. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Hillman, Neil. "Emotion in sound design." In Sound for Moving Pictures, 17–33. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Hillman, Neil. "Adding to the lexicon." In Sound for Moving Pictures, 121–31. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Hillman, Neil. "Closing thoughts." In Sound for Moving Pictures, 132–36. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Hillman, Neil. "Validating a new approach." In Sound for Moving Pictures, 34–40. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Hillman, Neil. "Introduction." In Sound for Moving Pictures, 1–14. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Hillman, Neil. "Reflections on practice." In Sound for Moving Pictures, 107–18. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hillman, Neil. "Applying the Four Sound Areas." In Sound for Moving Pictures, 72–106. New York : Routledge, 2021. |: Focal Press, 2021. http://dx.doi.org/10.4324/9781003055181-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Webster, Trevor. "Video." In Sound Recording Practice, 528–44. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163817.003.0027.

Full text

Abstract:

Abstract It might be supposed that sound for use with pictures is produced in much the same way as sound by itself, for radio or records. Although there are obvious parallels, and some of the same equipment is used, the differences are in fact very considerable. There are basically two ways of recording moving pictures, either of which can be used to originate programmes for subsequent TV broadcasting or videotape distribution. First, they can be recorded directly on to light-sensitive film inside a film camera. Second, they can be picked up by an electronic television camera (a video camera) and fed as an electrical waveform (the video signal) down wires to a videotape recorder. Sometimes these wires are only a few inches long as the recorder is mounted on the back of the camera to form a camcorder.

APA, Harvard, Vancouver, ISO, and other styles

10

Emison, Patricia. "Epilogue." In Moving Pictures and Renaissance Art History. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036_epi.

Full text

Abstract:

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Sound moving-pictures"

1

Krklec, Ana, Andrej Iskra, and Tanja Nuša Kočevar. "Creating a 2D animated short film with sound and image synchronisation." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p24.

Full text

Abstract:

Animation is a method, in which still images create the illusion of movement on the screen. We manipulate the viewer with fast-moving pictures to make them look as if they can move. This article intends to make a 2D animated film based on a screenplay template with synchronized sound. In the article, we had to provide different Software: Adobe Illustrator, Adobe Animate, Adobe After Effects, Adobe Premier Pro, Reaper (Digital Audio Workstation), and Sketchbook. In addition to the software and, of course, the computer, we also used a graphics tablet, a microphone, and a sound card During writing the article, we get to know the workflow of the creation of animation, from the design to the final product. We tested ourselves in the role of all important members of production houses to get the most realistic insight into the creation of such a project. The final product of the article is a short cartoon with a synchronization of speech and sound.

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Sound moving-pictures"

1

Wright, Richard. Preserving Moving Pictures and Sound: DPC Technology Watch Report 12-01. Digital Preservation Coalition, March 2012. http://dx.doi.org/10.7207/twr12-01.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!