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Artículos de revistas sobre el tema "Foley Artist"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Keenan, Fiona. "Navigating ‘feel’: When hands touch sound effects." Soundtrack, The 16, no. 1 (2024): 61–76. http://dx.doi.org/10.1386/ts_00033_1.

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Holding and moving objects to create a sound effect requires a performer to navigate by feel, directing their listening from the solid (dried peas on a drumhead) to the imaginary (sea waves). The illusory properties of sound have long been exploited by sound effects performers for the purposes of Foley, silent cinema and theatre. While sound may provoke the imagination or emotional response of the audience, it also does its affective work on the performer operating the effect. In the moment of practice itself, sound binds to the object being manipulated, blurring the known boundaries of its ph

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12

Gamble, Jordan Robert. "Marketing madness or financial folly?" European Journal of Marketing 53, no. 3 (2019): 412–41. http://dx.doi.org/10.1108/ejm-11-2017-0830.

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Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and

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13

Canyakan, Seyhan. "Music technologist paradigms in music technology educationMüzik teknolojisi eğitiminde müzik teknoloğu paradigması." Journal of Human Sciences 14, no. 4 (2018): 4838. http://dx.doi.org/10.14687/jhs.v14i4.5013.

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AimThe aim of this study is to inform the individuals who will prefer career steps for the departments because of the fact that music technology education in our country is not yet widespread on license basis and to give information about the field and to explain what career stages can be after graduating from department. In addition, a subordinate purpose of the study is to determine the qualities of the technologist candidate prepared for the music technology and to help him to prepare the appropriate qualities.MethodIt is one of the biggest misconceptions encountered today that music techno

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14

Pollard, Damien. "Rendering the umwelt: Foley, animal life and ethics." Soundtrack, The 16, no. 1 (2024): 11–25. http://dx.doi.org/10.1386/ts_00030_1.

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This article considers the ethical implications of the use of Foley sound in wildlife documentaries. Almost all of the sounds that animals seem to make in these films and television programmes are added by Foley artists; animals in the wild are often filmed using telephoto lenses, beyond the reach of microphones. Crew or vehicle noise will also often muddy sounds recorded on location and so a clean soundtrack must be created in post-production. This article is based on first-hand interviews conducted with practising Foley artists. It details some of the techniques that Foley artists use to sim

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15

Nożyński, Szymon. "Akuzmatyczność filmowych efektów dźwiękowych. Medialna mistyfikacja foley w kontekście sound designu." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 715–28. http://dx.doi.org/10.4467/20843860pk.21.049.14966.

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Acousmaticity of Film Sound Effects: Media Mystification of Foley in the Context of Sound Design The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature o

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16

wald, gayle. "‘have a little talk’: listening to the b-side of history." Popular Music 24, no. 3 (2005): 323–37. http://dx.doi.org/10.1017/s0261143005000541.

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forgotten recordings – such as ‘have a little talk with jesus’, the 1952 sister rosetta tharpe–red foley duet documented in this essay – may reveal a more complex account of popular music history than that which can be compiled from recordings that are remembered and passed on. released as the b-side of a red foley and the sunshine boys 45, ‘have a little talk’ is the product of a then-unprecedented collaboration in nashville of a black woman and a white man, people who couldn't have broken bread in a restaurant in that city at the time. yet ‘have a little talk’ is neither a transcendent recor

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17

Smith, Hester Camilla. "Artist as educator? Assessing the pedagogic role of folly in the early work of the Anglo‐Swiss artist Henry Fuseli (1741–1825)." Paedagogica Historica 46, no. 5 (2010): 559–83. http://dx.doi.org/10.1080/00309230.2010.510477.

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18

Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.

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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds t

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19

Peer, Ayelet, and Raz Greenberg. "THE JAPANESE TROJAN WAR: TEZUKA OSAMU'S ENVISIONING OF THE TROJAN CYCLE." Greece and Rome 67, no. 2 (2020): 151–76. http://dx.doi.org/10.1017/s0017383520000042.

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The Trojan cycle has been retold and re-envisioned many times from antiquity to modern times. The themes covered by these myths, especially the Homeric poems, have captivated the minds and hearts of poets, historians, authors, and others. Homer's Iliad extoled the grandeur as well as exposed the ugliness and folly of war. These humanistic virtues resonated with various cultures around the world. In this article we examine the reception of the Trojan cycle, especially the Iliad, on the noted manga artist Tezuka Osamu (1928–89). Recent reception theories focus on the creation of a new compositio

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20

Lapadat, Judith C. "Positivist's Folly." Cultural StudiesCritical Methodologies 2, no. 2 (2002): 299. http://dx.doi.org/10.1177/1532708602002002017.

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21

Lapadat, Judith C. "Positivist's Folly." Cultural Studies ↔ Critical Methodologies 2, no. 2 (2002): 299. http://dx.doi.org/10.1177/153270860200200217.

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22

Vredeveld, Harry. "“That Familiar Proverb”: Folly as the Elixir of Youth in Erasmus's Moriae Encomium." Renaissance Quarterly 42, no. 1 (1989): 78–91. http://dx.doi.org/10.2307/2861918.

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In order to make good her claim to be of all divinities the most important and generous, Folly in Erasmus's Moriae encomium begins her argument, according to rhetorical theory and practice, with the strongest proofs in her arsenal. First of all, she argues, it is she who has given us life, the greatest gift of all. Who among us would have been born without our parents’ folly? Second, it is the spice of folly that makes life enjoyable. For what is life if you take away merriment, pleasure, andjoy? And third, it is folly that rules the best and happiest time of life—childhood and youth—and resto

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23

Boffone, Trevor. "Circle Jerk by Michael Breslin and Patrick Foley." Theatre Journal 73, no. 1 (2021): 89–91. http://dx.doi.org/10.1353/tj.2021.0008.

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24

Sherman, Jon Foley. "Steven Berkoff, Choral Unity, and Modes of Governance." New Theatre Quarterly 26, no. 3 (2010): 232–47. http://dx.doi.org/10.1017/s0266464x10000436.

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Steven Berkoff has remained a polarizing and influential figure in British theatre for almost forty years, yet his work has received scant critical attention despite its widespread imitation and regular appearance on British stages. In this article, Jon Foley Sherman identifies choral movement as a key element of Berkoff's signature aesthetic of exaggerated, precise, and violent movement and language. Tracing a trajectory from his 1971 experiments with Agamemnon to his direction of Coriolanus, this article analyzes the uses to which choral movement has been put, and reveals a startling politic

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25

Morash, Chris. "The Girls in the Big Picture: Gender in Contemporary Ulster Theatre. By Imelda Foley. Belfast: Blackstaff Press, 2003; pp. xvi + 170. $25.95 paper." Theatre Survey 45, no. 2 (2004): 298–99. http://dx.doi.org/10.1017/s0040557404300268.

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“A new language of criticism is essential to describe and inscribe dramatic forms” (145): so writes Imelda Foley at the conclusion of her study of gender in contemporary Ulster theatre, The Girls in the Big Picture. It is not without irony, therefore, that her book is a perfect example of the exuberantly lively business of theatre in performance continually bursting through the limits of an overly schematic theoretical paradigm.

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26

Russom, Geoffrey. "The Singer of Tales in Performance.John Miles Foley." Speculum 72, no. 2 (1997): 468–69. http://dx.doi.org/10.2307/3040999.

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27

Fieldhouse, Julie, and Amanda Araba Ocran. "Jameson's Folly." Space and Culture 1, no. 3 (1998): 61–85. http://dx.doi.org/10.1177/120633129800100305.

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28

Foley, Kathy, and Richard Schechner. "Foley Jots a Few Notes in the Colonial Margin." TDR (1988-) 35, no. 1 (1991): 17. http://dx.doi.org/10.2307/1146104.

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29

Brien, Donna Lee. "Australian Radio Listeners and Television Viewers: Historical Perspectives, Bridget Griffen-Foley (2020)." Australasian Journal of Popular Culture 11, no. 1 (2022): 195–98. http://dx.doi.org/10.1386/ajpc_00059_5.

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Review of: Australian Radio Listeners and Television Viewers: Historical Perspectives, Bridget Griffen-Foley (2020) Cham: Palgrave Macmillan, 167 pp., ISBN 978-3-03054-636-6, h/bk, AUD 79 ISBN 978-3-03054-639-7, p/bk, AUD 79 ISBN 978-3-03054-637-3, e-book, AUD 66

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30

Hunter, Matthew C. "Folly—The View from Nowhere." Journal of Modern Craft 3, no. 3 (2010): 365–67. http://dx.doi.org/10.2752/174967810x12868890612484.

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31

Müller, Jürgen. "Die deutsche Bildparodie im 16. Jahrhundert. Ihre Anfänge, Formen und Funktionen." Kulturwissenschaftliche Zeitschrift 6, no. 1 (2021): 201–23. http://dx.doi.org/10.2478/kwg-2021-0016.

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Abstract Image parodies emerge at the same time as Erasmus of Rotterdam’s text In Praise of Folly from 1511, which also exerted great influence on painters. Thus it is obvious to connect the first parodies by artists like Albrecht Dürer or Urs Graf with the literary fashion of the paradoxical encomium. In this context, both the success of the Erasmian text and the spread of parodic pictorial procedures that began in Northern Europe are connected to the possibility of open and hidden criticism. Erasmus allows himself simple jokes, but at the same time he criticizes the image cult of the Catholi

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32

Ciochon, Russell L. ": Another Unique Species: Patterns in Human Evolutionary Ecology . Robert Foley." American Anthropologist 91, no. 3 (1989): 790–91. http://dx.doi.org/10.1525/aa.1989.91.3.02a00470.

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33

Harris, James C. "The Cure of Folly." Archives of General Psychiatry 61, no. 12 (2004): 1187. http://dx.doi.org/10.1001/archpsyc.61.12.1187.

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34

Tyquiengco. "Black Velvet: Aboriginal Womanhood in the Art of Fiona Foley." Feminist Studies 45, no. 2-3 (2019): 467. http://dx.doi.org/10.15767/feministstudies.45.2-3.0467.

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35

Anderson, Theodore M. "The Theory of Oral Composition: History and Methodology.John Miles Foley." Speculum 65, no. 2 (1990): 402–3. http://dx.doi.org/10.2307/2864317.

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36

Χρυσανθόπουλος, Μιχάλης. "ΜΙΧΑΛΗΣ ΧΡΥΣΑΝΘΟΠΟΥΛΟΣ, Υπερρεαλιστικά εγκώμια υπερρεαλιστών: Ανταγωνισμός μεταξύ Διοσκούρων;". Σύγκριση 31 (28 грудня 2022): 108–19. http://dx.doi.org/10.12681/comparison.31278.

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Surrealist “praises” (encomia) of surrealists: Empeirikos and Engonopoulos compete? The purpose of the paper is to explore the way the Greek surrealists, Andreas Empeirikos and Nikos Engonopoulos, use the form of the “praise” (encomium) in a fashion that relates to the Ancient Greek tradition and to its Renaissance revival (e.g. Erasmus, “Praise of Folly”), in order to establish the basic principles of their approaches, to deal with negative criticism of their work, to underscore the merits of the ideas and the work of their seniors, but, also, to playfully criticise them and, last but not lea

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37

PLANTINGA, CARL. "Barbara Foley, Telling The Truth: The Theory and Practice of Documentary Fiction." Journal of Aesthetics and Art Criticism 45, no. 3 (1987): 316–17. http://dx.doi.org/10.1111/1540_6245.jaac45.3.0316.

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38

Marczuk, Barbara. "«Vrayment voicy de plaisans fous»: la folie dans le théâtre profane de Marguerite de Navarre." Renaissance and Reformation 38, no. 4 (2002): 33–49. http://dx.doi.org/10.33137/rr.v38i4.8837.

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This study shows that the dialectics of wisdom and folly, which owes a great deal to the relativization of reason in Renaissance culture, undergoes an original development in Marguerite de Navarre’s “secular” theater. While in these plays Marguerite uses figures of folly which inscribe themselves in the tradition represented by the late-medieval wordly fool, or Erasmus’s wise fool, she also creates the figure of the spiritual fool, who draws from both divine science and mystical ecstasy. The protagonists of four of Marguerite’s plays, Le Mallade, L’Inquisiteur, Trop, Prou, Peu, Moins, and the

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39

Duhl, Olga Anna. "Le plaisir des sens comme source de bonheur dans les Stultiferae naves de Josse Bade et l'Éloge de la Folie d'Érasme." Renaissance and Reformation 30, no. 1 (2006): 17–35. http://dx.doi.org/10.33137/rr.v30i1.9131.

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The pursuit of happiness represents one of the major paradoxes of Erasmus' best-known work, Encomium Moriae (The Praise of Folly) (1511). While spiritual bliss is upheld as the ultimate form of happiness, the speaking subject celebrating it, who is no other than Folly herself, also argues for the superiority of the pleasures derived from the five senses. The narrative strategy which helps to maintain such an ambiguous position with regards to the ideal form of happiness, however, was scarcely Erasmus' invention, although he has been traditionally credited for it. As shown by the present compar

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40

Foley, John Miles, and Heda Jason. "On Jason's Review of J. M. Foley: "Oral-Formulaic Research and Scholarship"." Asian Folklore Studies 45, no. 1 (1986): 165. http://dx.doi.org/10.2307/1177858.

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41

Wesseling, Ari. "Dutch Proverbs and Ancient Sources in Erasmus's Praise of Folly." Renaissance Quarterly 47, no. 2 (1994): 351–78. http://dx.doi.org/10.2307/2862917.

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Clarence Miller, the learned editor and commentator of Erasmus's Praise of Folly, made a challenging remark in a recent issue of Renaissance Quarterly. In discussing a collection of essays on the Moria and the Colloquies,he observes in conclusion that it is “very difficult to say much that is both new and true” about Erasmus's satire. With a view to the flood of secondary literature on the subject, his observation seems quite to the point.I shall illustrate a number of basic textual ingredients in the Moria whose origin has escaped the attention of Erasmus specialists, namely, Dutch proverbs a

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42

Dubin, Nina L., Meredith Martin, and Madeleine C. Viljoen. "Fortune and Folly: A Pandemic Reminiscence." Eighteenth-Century Studies 54, no. 1 (2020): 13–21. http://dx.doi.org/10.1353/ecs.2020.0082.

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43

Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program S

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44

Gervers, Michael. "Military Orders and Crusades by Alan Forey." Catholic Historical Review 82, no. 3 (1996): 536–37. http://dx.doi.org/10.1353/cat.1996.0028.

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45

Ellis, Steven G. "Áine Foley, The royal manors of medieval Co. Dublin: crown and community." Peritia 28 (January 2017): 253–54. http://dx.doi.org/10.1484/j.perit.4.2018005.

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46

Nilles, Camilla J. "Re-Reading Folly: Rabelais’s Praise of Triboullet." Renaissance and Reformation 30, no. 1 (2009): 19–31. http://dx.doi.org/10.33137/rr.v30i1.11477.

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Rabelais's praise of Triboullet differs from earlier works on folly by using the fool's differing perspective to conduct its search for authentic meaning. The descriptions of the sage mondain and the divine fool initiate the process, establishing folly and wisdom as relative terms, whose meaning is determined by shifting perspectives. In the praise of Triboullet, Pantagruel's and Panurge's differing referential frames are embodied by parallel columns of epithets. While each list's internal coherence and its relation to the other is guaranteed by analogy, they use difference to generate new epi

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47

Castle, Terry. "Contagious Folly: "An Adventure" and Its Skeptics." Critical Inquiry 17, no. 4 (1991): 741–72. http://dx.doi.org/10.1086/448611.

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Bäuml, Franz H. "Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. John Miles Foley." Speculum 61, no. 3 (1986): 650–51. http://dx.doi.org/10.2307/2851615.

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Spadaro, Katrina L. "Disease, Folly, Authorship: Robert Armin and Twelfth Night." Shakespeare 17, no. 3 (2021): 259–78. http://dx.doi.org/10.1080/17450918.2021.1887341.

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Varghese, Annalise. "Observer effects: experiencing emptiness in Peter Wilson’s Osaka Folly." Journal of Architecture 26, no. 5 (2021): 710–35. http://dx.doi.org/10.1080/13602365.2021.1948442.

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