Bibliografías temáticas / Foley Artist

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Literatura académica sobre el tema "Foley Artist"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Foley Artist"

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Tomkinson, Matthew. "A surreal science: Guy Maddin’s Foley of the unconscious in Brand Upon the Brain! and Footsteps." Soundtrack, The 16, no. 1 (2024): 77–91. http://dx.doi.org/10.1386/ts_00034_1.

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In 2006, Canadian director Guy Maddin premiered a semi-autobiographical film at TIFF called Brand Upon the Brain!, which featured live Foley sound and orchestral accompaniment. Adopting the aesthetics of silent film, Maddin presents a warped version of his childhood traumas, filtered through the funhouse mirror of Sigmund Freud, Fritz Lang and the Brothers Grimm. Further emphasizing the discordances of recollection and actual event, Maddin’s theatrical presentation divorces sound from screen, reimagining the film’s soundscape (and by extension, that of his childhood) as an exaggerated live rep
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Donaldson, Lucy Fife. "The work of an invisible body." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 79–93. http://dx.doi.org/10.33178/alpha.7.05.

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On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including foot
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Talijan, Emilija. "Introduction to Foley sound." Soundtrack, The 16, no. 1 (2024): 3–10. http://dx.doi.org/10.1386/ts_00029_2.

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Foley sound effects – those sounds that are created in post-production through live performance and then added to the sound mix of films, television, video games and animation – are ubiquitous. But effective Foley should not be heard. It is one of those creative labours in the making of a film that, to be considered successful, must erase itself. While film studies has begun to redress theory and practice’s bias towards the visual, film sound studies has yet to sufficiently acknowledge this hidden body in the sound process and fully reckon with the individual contribution made by the Foley art
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Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (2020): 76. http://dx.doi.org/10.3390/genealogy4030076.

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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated momen
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Bower, Julie Rose. "The cloth pass and soft glitch." Soundtrack, The 16, no. 1 (2024): 27–43. http://dx.doi.org/10.1386/ts_00031_1.

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In this article, sound artist Julie Rose Bower examines the relationship between the Foley ‘cloth pass’ and the ‘fabric sounds’ autonomous sensory meridian response (ASMR) trigger. Starting with Serres’s sensory appraisal that ‘the world is a mass of laundry’ the tactile qualities of cloth are proposed as a key component in accounting for the ‘felt rather than heard’ status of Foley sound. Writing from a practitioner perspective, Bower argues for textile manipulation as a form of embodied sound design and cloth sounds as a curiously generative media object. Through theorizing developments in t
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Pinheiro, Sara. "Foley gesture: Towards a theory of acousmatic foley." New Sound, no. 61-1 (2023): 60–83. http://dx.doi.org/10.5937/newso23061060p.

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The research project "Acousmatic Foley" addresses common traits between foley art and Concrete Music, based on the idea that the foley artist is an acousmatic listener and, in turn, that acousmatic listening is a form of fiction. In this line, the study argues that both fields have similar treatment of the "sonorous object". For this purpose, the research builds on two lines of thought: the "son-en-scène" and the "mise-en-son". Firstly, the "son-en-scène" focuses on the sounds of the filmic miseen-scène (and its sound props), from very early cases to contemporary instances. The focus on these
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Wahlström Henriksson, Helena. "Lily Robert-Foley, The Duty to Presence." European Journal of Life Writing 13 (September 13, 2024): R6—R10. http://dx.doi.org/10.21827/ejlw.13.42160.

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This book is an extended and formally mixed prose poem on the experience of becoming a mother, and particularly on spending the everyday every day with a baby, observing their development and attempting to record what one perceives. The author, Lily Robert-Foley is an American writer; she is also a translator, university teacher, and artist, and she is a playful thinker with an interest in feminist and queer resistance. Her previous publications range from a novel to a book on experimental translation; this is her first published book of poetry.
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Keepe, Michael. "Eugene Foley. Artist Development: A Distinctive Guide to the Music Industry’s Lost Art." Journal of the Music and Entertainment Industry Educators Association 9, no. 1 (2009): 215–18. http://dx.doi.org/10.25101/9.15.

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White, Ethan Doyle. "Review: Pamela Colman Smith: Artist, Feminist, and Mystic, by Elizabeth Foley O’Connor." Nova Religio: The Journal of Alternative and Emergent Religions 27, no. 1 (2023): 143–44. http://dx.doi.org/10.1525/nr.2023.27.1.143.

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Beauchamp, Hélène. "Making theatre from the debris of The Tempest : La Tempête de Caliban , a monologue for an actor-puppeteer and a foley artist partner." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 82–95. https://doi.org/10.1177/01847678251339038.

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This article explores how the French theatre company Pupella-Noguès adapted I, Caliban , a rewriting of William Shakespeare's The Tempest by English playwright Tim Crouch, in which the slave Caliban relates his own version of the story. La Tempête de Caliban [ The Tempest of Caliban ] (2023) offers a scenography reminiscent of puppetry: on a magical table representing the island, Caliban manipulates various objects symbolising the other characters. On another table, a foley artist creates a live soundscape of the island. These elements create an experience both magical and metatheatrical for t
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Tesis sobre el tema "Foley Artist"

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Oliveira, Thaís Rodrigues. "Escuta vibrátil." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/8272.

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Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2018-03-08T19:38:06Z No. of bitstreams: 2 Dissertação - Thaís Rodrigues Oliveira - 2014.pdf: 73299 bytes, checksum: 7172b79c05df4311cfc677cefbe4ecc4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: Marlene, o arquivo da dissertação só possui as folhas iniciais. Procurei no dropbox e está do mesmo jeito e não achei o nome dela na planilha de entrada. on 2018-03-12T11:23:39Z (GMT)<br>Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2018-03-2
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Bento, Bernardo Maria de Bourbon Martinho Meireles. "Relatório de estágio no bando à parte." Master's thesis, 2020. http://hdl.handle.net/10400.14/32897.

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O presente relatório descreve o estágio curricular realizado durante o segundo ano do mestrado em Design de Som na produtora cinematográfica Bando à Parte, no âmbito do som para cinema. A área de trabalho em que o estágio se inseriu foi a de produção e pós-produção de som para filme. Durante sete meses, no departamento de som do Bando à Parte, foi possível aplicar em contexto profissional todo o conhecimento assimilado no primeiro ano de mestrado. Qual a metodologia a seguir por um diretor de som numa produção cinematográfica? Como se procede à pós-produção de um filme? São algumas das questõe
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Ferreira, Lucas Tavares. "Reminiscências de uma paisagem de inverno." Master's thesis, 2021. http://hdl.handle.net/10400.6/12009.

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O presente relatório pretende apresentar o processo de criação do filme Reminiscências de uma paisagem de inverno, projeto final do mestrado em Cinema da Universidade da Beira Interior. Procurando explorar os diferentes temas e ideias que circundam o projeto e a partir deles, discutir questões práticas como a realização e a direção de fotografia. O filme se insere no género de cinema de paisagem, procurando criar uma paisagem a partir de imagens e sons captados ao longo de 8 meses em um espaço real, a serra da Freita.<br>The present report intends to show the process of creating the film Remin
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Silva, João Paulo Sousa. "Postcanis." Master's thesis, 2019. http://hdl.handle.net/10400.14/32171.

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Na elaboração do presente relatório, realizado na especialização de Design de Som, pretendo englobar todo um conjunto de operações necessárias para o desenvolvimento sonoro para produções audiovisuais. Para esse efeito foi produzido um projeto que contou com a colaboração de alguns colegas de turma de Design de Som. O projeto consiste, preliminarmente, na criação de foleys e efeitos sonoros para um filme mudo que constitui uma referência na história do cinema, “Un Chien Andalou” de 1929, realizado por Luis Buñuel, com estreita pareceria com Salvador Dali. Neste processo de trabalho pretendo in
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Araújo, Miguel Francisco Milhazes. "Relatório de estágio na Sketchpixel." Master's thesis, 2020. http://hdl.handle.net/10400.14/33614.

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Este trabalho final realizado no segundo ano de mestrado em Som e Imagem da Universidade Católica Portuguesa sob a forma de um relatório de estágio curricular, reflete toda a experiência e trabalho que foi desenvolvido na área de som para publicidade e aplicações interativas na Sketchpixel em Braga. Durante 6 meses, o estágio curricular incidiu em todas as áreas de som que eu abordei durante o meu primeiro ano de mestrado: captação, edição, produção, pós-produção, mistura e masterização de som, composição de banda sonora, mistura e masterização de banda sonora. Todo este conhecimento adquirido
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Libros sobre el tema "Foley Artist"

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Dean, Tacita. Foley artist. Tate Gallery, 1996.

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Museum of Contemporary Art (Sydney, N.S.W.) and University of Queensland. University Art Museum, eds. Fiona Foley: Forbidden. Museum of Contemporary Art, 2009.

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Fiona, Foley, Gill Simryn 1959-, and Institute of Modern Art (Brisbane, Qld.), eds. Your place or mine?: Fiona Foley, Simryn Gill. Institute of Modern Art, 2002.

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von, Habsburg Géza, and Ruffin Costello Sara, eds. Gatekeeper: World of folly. Assouline, 2018.

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Laurence, Janet. Edge of the Trees: A sculptural installation by Janet Laurence and Fiona Foley : from the concept by Peter Emmett. Edited by Emmett Peter, Dysart Dinah, and Historic Houses Trust of New South Wales. Historic Houses Trust of New South Wales, 2000.

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Roland, Kanz, ed. Das Komische in der Kunst. Böhlau, 2007.

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Roland, Hrsg :. Kanz, ed. Das Komische in der Kunst. B ohlau-Verlag K oln Weimar, 2007.

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The Foley Artist: Stories. Gaudy Boy LLC, 2019.

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Publishng, Movie &. T. V. Guru. Don't Panic! I'm a Professional Foley Artist : Customized 100 Page Lined Notebook Journal Gift for a Busy Foley Artist: Far Better Than a Throw Away Greeting Card. Independently Published, 2020.

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Jonna Kina: Foley Objects. Kehrer Verlag Heidelberg, Klaus Kehrer, 2015.

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Capítulos de libros sobre el tema "Foley Artist"

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"THE FOLEY ARTIST." In Muster Points. University of Calgary Press, 2023. http://dx.doi.org/10.2307/jj.3252832.41.

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"The Foley Artist." In Muster Points. University of Calgary Press, 2023. http://dx.doi.org/10.1515/9781773854540-041.

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Talijan, Emilija. "Listening to Things: Foley as ‘Alien Phenomenology’ and Peter Strickland’s Berberian Sound Studio." In Resonant Bodies in Contemporary European Art Cinema. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474483452.003.0007.

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This chapter moves on to consider the practice of Foley artists themselves and their own form of listening, bringing this in line with contemporary non-anthropocentric philosophy. It asks if the Foley artist, in their attention to the interactions between things and their interobjectivity, could be said to be practicing a form of ‘alien phenomenology’ as defined by Ian Bogost (2012). These ideas are then taken back to film itself, to consider Peter Strickland’s Berberian Sound Studio (2012) which purports to make the sound production process visible within the film. However, I argue that sound
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West, Michael. "Foley." In The Theatre Arts Audition Book for Men. Routledge, 2018. http://dx.doi.org/10.4324/9781315059969-30.

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Potter, Rachel. "Introduction." In Modernism and Democracy. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199273935.003.0001.

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Abstract The emergence of modernist literature coincided with the birth of the mass democratic state. Yet Anglo-American modernists are notorious for their hostility to democracy and liberalism. As Ezra Pound put it in 1914, ‘The artist has been at peace with his oppressors for long enough. He has dabbled in democracy and he is now done with that folly … The aristocracy of entail and of title has decayed, the aristocracy of commerce is decaying, the aristocracy of the arts is ready again for its service.’ Pound’s words announce the political terms of a new literary agenda. He debunks the artis
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İnal, Ufuk. "The Digital Transformation of Sound and Music Cinema Experience With AI." In Advances in Media, Entertainment, and the Arts. IGI Global, 2024. https://doi.org/10.4018/979-8-3693-3916-9.ch005.

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Artificial intelligence (AI) technologies are revolutionising the cinema industry. AI, which offers significant innovations especially in sound production and editing, enriches the film atmosphere. Deep learning models produce realistic sound effects, reducing the need for manual foley and facilitating synchronisation. AI provides higher quality sound effects while saving cost and time in film production. The quality of dialogue and the naturalness of sound effects are also improved with AI. AI stands out as an important technology that will shape the future of sound in cinema.
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Chapman, John. "‘A Mani Splendoured Thing’ – or Fermor’s Folly." In Lost and Now Found: Explorers, Diplomats and Artists in Egypt and the Near East. Archaeopress Publishing Ltd, 2017. http://dx.doi.org/10.2307/j.ctv177tjkd.21.

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Woods, Susanne. "Lanyer And English Religious Verse." In Lanyer. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195124842.003.0005.

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Abstract Religion defined the social, political, and intellectual life of me devil and Renaissance Europe. From the imperialist folly of the Crusades to individual sacrifices, from cathedrals and epics to vestments and sonnets, religion also infused and trans- ported the period’s artistic imagination. Today many find it hard to grasp the ubiquity and power of religion in the sixteenth and seventeenth centuries. It underlay virtually every assumption about the nature, purpose, and value of life, and what appear to us as small differences within a hegemonic worldview were reasons for debate, imp
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Obrecht, Jas. "December 1966." In Stone Free. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647067.003.0005.

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Jimi deepens his entanglement with manager Michael Jeffery by signing another ill-advised contract, and moves with Chas Chandler and Kathy Etchingham into an apartment owned by Ringo Starr. He begins assembling a wide-ranging collection of albums, including many by favourite blues artists Muddy Waters, John Lee Hooker, and Elmore James. After a visit with his former bandleader, Little Richard, Hendrix is accosted by the London police due to his skin color and clothing choices. The Jimi Hendrix Experience make their television debut on Ready Steady Go!, and record “Foxey Lady,” “Can You See Me,
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Barber, C. L. "Introduction: The Saturnalian Pattern." In Shakespeare's Festive Comedy. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149523.003.0001.

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This chapter explores the connections between Shakespeare's comedies and Elizabethan holidays. It argues that the saturnalian pattern came to Shakespeare from many sources, both in social and artistic tradition. It appeared in the theatrical institution of clowning: the clown or Vice, when Shakespeare started to write, was a recognized anarchist who made aberration obvious by carrying release to absurd extremes. The cult of fools and folly, half social and half literary, embodied a similar polarization of experience. One could formulate the saturnalian pattern effectively by referring first to
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Informes sobre el tema "Foley Artist"

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Robertson, Kirsty, Sarah E. K. Smith, Heather Anderson, and Sandra Dyck, eds. The Air of the Now and Gone. Carleton University Art Gallery, 2025. https://doi.org/10.5206/qdxl8623.

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This publication accompanies the 2025 exhibition The Air of the Now and Gone, curated by Kirsty Robertson and Sarah E.K. Smith. They ask: in the face of the “wicked problem” of climate change, which precludes easy solutions, how can we move forward? How can we address a crisis that prompts apathy and disconnect? In their introductory essay, Robertson and Smith discuss the works of the artists, who refuse detachment and simultaneously complicate idealism. Like the artists, the curators seek to encourage diverse responses to the realities of climate change, moving beyond apathy and despair to en
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