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Books on the topic 'Sourds – Au cinéma'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

1941-, Abel Richard, Altman Rick 1945-, and Domitor Conference (5th : 1998 : Library of Congress), eds. The Sounds of early cinema. Indiana University Press, 2001.

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2

1959-, Wallengren Ann-Kristin, ed. Today's sounds for yesterday's films: Making music for silent cinema. Palgrave Macmillan, 2015.

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3

Raine, Michael, and Johan Nordström, eds. The Culture of the Sound Image in Prewar Japan. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089647733.

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This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators

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4

Zavattini, Cesare. Cinema. Bompiani, 2002.

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5

Nougaret, Claudine. Le son direct au cinéma: Entretiens. Institut de formation pour les métiers de l'image et du son, 1997.

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6

Pisano, Giusy. Une archéologie du cinéma sonore. CNRS, 2004.

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7

Pisano, Giusy. Une archéologie du cinéma sonore. CNRS éditions, 2004.

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8

Eduardo, Ades, Caixa Cultural Rio de Janeiro., Caixa Cultural São Paulo, and Caixa Cultural Salvador, eds. O som no cinema. Tela Brasilis, 2008.

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9

Eduardo, Ades, Caixa Cultural Rio de Janeiro., Caixa Cultural São Paulo, and Caixa Cultural Salvador, eds. O som no cinema. Tela Brasilis, 2008.

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10

Eduardo, Ades, Caixa Cultural Rio de Janeiro., Caixa Cultural São Paulo, and Caixa Cultural Salvador, eds. O som no cinema. Tela Brasilis, 2008.

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11

McParland, Stephen J. Cycle cinema and sickle sounds: A musical appreciation of the biker film genre. Cmusic Books, 2003.

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12

Jeunet, Jean-Pierre. Les magiciens du cinéma: Carné, Prévert, Trauner. Les Arènes, 2012.

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13

Janot, Antoine. Le cinéma est-il devenu muet? L'Harmattan, 2014.

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14

1939-, Bertrand Ina, ed. Cinema in Australia: A documentary history. NSWU Press, 1989.

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15

Millet, Thierry. Bruit et cinéma. Publications de l'Université de Provence, 2007.

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16

N, Subramaniam K., and Tripathy Ratnakar, eds. Flashback: Cinema in the Times of India. Times of India, 1990.

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17

Sim, Gerald. Postcolonial Hangups in Southeast Asian Cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721936.

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Postcolonial Hangups in Southeast Asian Cinema: Poetics of Space, Sound, and Stability explores a geopolitically situated set of cultures negotiating unique relationships to colonial history. Singaporean, Malaysian, and Indonesian identities are discussed through a variety of commercial films, art cinema, and experimental work. The book discovers instances of postcoloniality that manifest stylistically through Singapore’s preoccupations with space, the importance of sound to Malay culture, and the Indonesian investment in genre.

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18

Kerins, Mark. Beyond Dolby (stereo): Cinema in the digital sound age. Indiana University Press, 2010.

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19

Corporation, United Artists. Cinema pressbooks from the original studio collections. Primary Source Microfilm, 2001.

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20

Castant, Alexandre. Planètes sonores: Radiophonie, arts, cinéma. Monografik, 2007.

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21

Institut national d'histoire de l'art (France), ed. Archives et acteurs des cinémas d'animation en France. Harmattan, 2014.

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22

Philip, Brophy, and Australian Film, Television & Radio School., eds. Cinesonic: Cinema and the sound of music. Australian Film Television & Radio School, 2000.

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23

Corporation, United Artists, Warner Bros, Monogram Pictures Corporation, and Wisconsin Center for Film and Theater Research., eds. Cinema pressbooks from the original studio collections. Research Publications, 1988.

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24

author, Mariani Andrea 1985, ed. Effemeridi del film: Episodi di storia materiale del cinema italiano. Meltemi, 2019.

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25

Manuele, Cecconello, and Michelone Guido, eds. Coloriture: Voci, rumori, musiche nel cinema d'animazione. Pendragon, 1995.

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26

Barnier, Martin. En route vers le parlant: Histoire d'une évolution technologique, économique et esthétique du cinéma (1926-1934). Editions du CEFAL, 2005.

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27

Salvucci, Loriano. Ivo Crocchi: Un maremmano gavorranese nella storia del cinema italiano. Effigi, 2020.

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28

Bond, Felicia, and Laura Joffe Numeroff. Souris, Tu Viens Au Cinéma? Scholastic Canada, Limited, 2014.

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29

Abel, Richard, and Charles (Rick) F. Altman. Sounds of Early Cinema. Indiana University Press, 2001.

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30

Sounds Like Helicopters: Classical Music in Modernist Cinema. State University of New York Press, 2019.

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31

Connor, Steven. Sounding Out Film. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.027.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film sound has been recruited to theà voir, the ‘to-be-seen’in an appropriation of the audible into the visible. This chapter attempts to characterize the principles of excess represented by sound and to account for sound’s seeming unaccountability of in cinema. Vision fixes, but sound expands and dissolves. It is not natural to identify “points of audition” the same way that we naturally identify point of view. Where cinematic seeing is reflexive, cinema sou

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32

elhariry, yasser, ed. Sounds Senses. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856882.001.0001.

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Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism.

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33

Le son au cinéma. Artois presses université, 2010.

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34

Donnelly, K. J., and Ann-Kristin Wallengren. Today's Sounds for Yesterday's Films: Making Music for Silent Cinema. Palgrave Macmillan, 2016.

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35

Donnelly, K. J., and Ann-Kristin Wallengren. Today's Sounds for Yesterday's Films: Making Music for Silent Cinema. Palgrave Macmillan Limited, 2018.

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36

Best of the 80's Movie Songbook Cinema Sounds Anthology. CPP/Belwin, Inc., 1989.

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37

Smigel, Eric. Sights and Sounds of the Moving Mind. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0006.

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American experimental filmmaker Stan Brakhage revolutionised independent cinema by cultivating a new poetic idiom designed to document the subjective vision of the eye behind the camera. Committed to an inclusive account of the lived visual experience, he augmented the cinematic vocabulary by including components such as hallucination, dreams, closed-eye images and optical feedback, capturing these ephemeral elements using a wide variety of ‘home-made’ modifications to the filming process, including erratic hand-held camera movement, distortion of focus and changing camera speeds. Although mos

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38

Le bruit éprouvant (au cinéma). La Lettre volée, 2017.

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39

Journal audiobiographique: Radiophonie, arts, cinéma. Nouvelles éditions Scala, 2016.

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40

Raine, Michael, and Johan Nordström, eds. The Culture of the Sound Image in Prewar Japan. Amsterdam University Press B.V., 2020. http://dx.doi.org/10.5040/9789048561704.

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This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators

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41

Mennel, Barbara, and Sabine Hake. Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens. Berghahn Books, Incorporated, 2014.

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42

Mennel, Barbara, and Sabine Hake. Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens. Berghahn Books, Incorporated, 2012.

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43

Turkish German cinema in the new millennium: Sites, sounds, and screens. Berghahn Books, 2012.

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44

Colmeiro, José. Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.001.0001.

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Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been im

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45

Goldmark, Dr Daniel. Sounds for the Silents: Photoplay Music from the Days of Early Cinema. Dover Publications, 2013.

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46

Berton, Mireille. Le Médium (au) cinéma. Georg Editeur, 2021. http://dx.doi.org/10.32551/georg.11705.

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À partir d’une réflexion sur la polysémie du terme « médium », ainsi que d’une histoire croisée du cinéma et du spiritisme, cet ouvrage propose d’analyser la manière dont l’imaginaire spirite fait l’objet de représentations filmiques nourries par des discours (implicites ou explicites) sur les technologies d’enregistrement et de reproduction, et en particulier sur le cinéma qui devient, sous cet angle, une machine à fantômes particulièrement efficace.

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47

Gardner, Colin. Chaoid Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494021.001.0001.

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The book expands on a burgeoning area in contemporary film studies that explores absences and interstices such as black and white screens that interrupt the film narrative in order to explore buried or hidden philosophical and affective layers that, once revealed, will radically change our reading of the film. In this case I explore silences in the soundtrack – not ambient silence or so-called ‘room tone’ but complete sound drop-outs, as if the film projector had broken down, thereby jolting the audience out of their passive relationship to the screen so that they become aware of their surroun

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48

Chion, Michel. Sensory Aspects of Contemporary Cinema. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.024.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film in the digital era is increasingly developing as a sensory experience. Sounds and images together yield sensations that can approximate senses other than sight and hearing. Cinema can thusrender(as distinct fromreproduce) the coolness of the wet spray experienced by a fountain, for example, or speed, force, materiality, hollowness, heaviness, and so forth. At the same time, the nature of recording and filming takes sounds and images out of their real mul

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49

Burton, Alan, and Steve Chibnall. Historical Dictionary of British Cinema. The Rowman & Littlefield Publishing Group, Inc., 2013. https://doi.org/10.5040/9798881839949.

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British cinema has been around from the very birth of motion pictures, from black-and-white to color, from talkies to sound, and now 3D, it has been making a major contribution to world cinema. Many of its actors and directors have stayed at home but others ventured abroad, like Charlie Chaplin and Alfred Hitchcock. Today it is still going strong, the only real competition to Hollywood, turning out films which appeal not only to Brits, just think of Bridget Jones, while busily adding to franchises like James Bond and Harry Potter. So this Historical Dictionary of British Cinema has a lot of gr

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50

Le son au cinéma. Éditions de l'Étoile, 1992.

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