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Artículos de revistas sobre el tema "Sound film"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Alam, Pandu Watu, Rangga Saptya Mohamad Permana, and Sri Seti Indriani. "Diegetic and nondiegetic sounds in film scoring of Pengabdi Setan film." ProTVF 7, no. 2 (2023): 165. http://dx.doi.org/10.24198/ptvf.v7i2.47281.

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Background: This research examines the 2017 film Pengabdi Setan scoring function. Joko Anwar wrote and directed the film Pengabdi Setan, released on September 28, 2017. This film is a remake of a 1980 film of the same name. In this film, the score is essential for visually confirming symbols or incomplete messages. There are two types of sound: diegetic sound and non-diegetic sound. Purpose: This research aims to determine how diegetic and non-diegetic sound were used to create a horror atmosphere in the film Pengabdi Setan. Methods: The authors described the audio analysis results in the form

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2

Vani, Giovani Gio, and Dwinta Arswendah. "Penerapan Diagetic Sound Pada Film Dokudrama “Bondar Hatabosi”." ROLLING 6, no. 2 (2023): 135. http://dx.doi.org/10.19184/rolling.v6i2.43685.

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The artwork "The Role of Sound in the Bondar Hatabosi Docudrama Film" aims to create a docudrama film that provides a reflection on how the importance of natural and environmental sounds in the form of culture in Luat Hatabosi village is especially able to shape the emotions of the audience who hear it. The creation of this film is in the docudrama genre because it tells a story based on a true story from historical re-enactment with elements of dramatization. For this reason, the use of real sound is very appropriate to the genre of this film, namely docudrama. The object of creating this wor

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3

Paletz, Gabriel M. "Writing sound in the screenplay: Traditions and innovations." Soundtrack, The 15, no. 1 (2023): 61–75. http://dx.doi.org/10.1386/ts_00027_1.

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Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in

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4

Karaduman, Arzu. "Crystal sounds in contemporary film and TV." Soundtrack, The 14, no. 1 (2023): 3–17. http://dx.doi.org/10.1386/ts_00018_1.

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At the core of Deleuze’s theorization of the time-image is the ‘crystal image’ that appears as a direct presentation of time in an indiscernibility of the actual and the present from the virtual in various forms. Lending his ears to cinema after the Second World War, Deleuze coins the term ‘sound-crystal’, but he neither sufficiently engages with it nor thinks about it beyond music. Turning to film sound scholarship or film philosophy is futile in a similar fashion. To address these gaps in Deleuze, film philosophy and sound in cinema, I listen carefully to a number of contemporary films and T

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5

Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.

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The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character. This essay explores the director's vision of urban space and the

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6

Zhang, Minglei. "Gone with the sound: critical perspectives on studying imaginability of American cinematic experience in the “sound” era, 1927-1935." Arts & Humanities Open Access Journal 5, no. 1 (2023): 75–79. http://dx.doi.org/10.15406/ahoaj.2023.05.00190.

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This article explores the human-technology relationship during the transition from silent films to sound films in American history and analyzes how this specific technology has influenced film audiences’ experiences. The author revisits the importance of human-centered technology and uses the term “imaginability” to describe the likelihood for both spontaneous bodily responses and technologically cultivated thinking activities inspired by cinematic engagement. The article challenges the discourse of technology as progress while focusing on the audiences’ experience during their cinematic engag

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7

Luo, Yi, Jian Liu, Jiachang Zhang, Yu Xiao, Ying Wu, and Zhidong Zhao. "A wearable nanoscale heart sound sensor based on P(VDF-TrFE)/ZnO/GR and its application in cardiac disease detection." Beilstein Journal of Nanotechnology 14 (July 31, 2023): 819–33. http://dx.doi.org/10.3762/bjnano.14.67.

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This paper describes a method for preparing flexible composite piezoelectric nanofilms of P(VDF-TrFE)/ZnO/graphene using a high-voltage electrospinning method. Composition and β-phase content of the piezoelectric composite films were analyzed using X-ray diffraction. The morphology of the composite film fibers was observed through scanning electron microscopy. Finally, the P(VDF-TrFE)/ZnO/graphene composite film was encapsulated in a sandwich-structure heart sound sensor, and a visual heart sound acquisition and classification system was designed using LabVIEW. A heart sound classification mod

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8

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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9

Kang, Hyo-wook. "A Study on the Interaction between Film Narrative and Sound Design." Korean Society of Human and Nature 5, no. 2 (2024): 11–27. https://doi.org/10.54913/hn.2024.5.2.11.

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Film is a comprehensive art form composed of various elements such as acting, cinematography, music, sound, and lighting. Yet, from the perspective of visual art, it is clear that the picture remains the most central component of film. This is evidenced by the term “Silent Film,” used to describe works from the era when only visuals existed, underscoring the indispensable nature of the picture in cinema. As film developed over time, auditory elements like music and sound were integrated, enhancing the narrative delivery. Consequently, the film’s narrative has achieved greater clarity and expre

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10

Baranowski, Andreas M., Rebecca Teichmann, and Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions." Art and Perception 5, no. 3 (2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.

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Laughter is said to be contagious. Maybe this is why TV stations often choose to add so-called canned laughter to their shows. Questionable as this practice may be, observers seem to like it. If such a simple manipulation, assumingly by inducing positive emotion, can change our attitudes toward the film, does the opposite manipulation work as well? Does a negative sound-track, such as screaming voices, have comparable effects in the opposite direction? We designed three experiments with a total of 110 participants to test whether scream-tracks have comparable effects on the evaluation of film

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11

Cumbow, Robert C., and William Johnson. "Film Sound." Film Quarterly 39, no. 2 (1985): 64. http://dx.doi.org/10.1525/fq.1985.39.2.04a00100.

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12

Cumbow, Robert C., and William Johnson. "Film Sound." Film Quarterly 39, no. 2 (1985): 64. http://dx.doi.org/10.2307/1212343.

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13

Napolin, Julie Beth. "Between Sound and Image." Film Quarterly 76, no. 3 (2023): 48–54. http://dx.doi.org/10.1525/fq.2023.76.3.48.

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In 1929, the “Empress of the Blues” Bessie Smith made her only known film appearance in a short, two-reel film by Dudley Murphy, St. Louis Blues, titled after the W.C. Handy song that Smith had made famous. One prefiguration of the music video medium, it was the first film to be made to a preexisting song. Sixty years later, the song moves into a third instantiation when Isaac Julien returns to a fragment of Smith’s film performance in his dreamy Looking for Langston. It situates Smith in the context of Black queer literary voicings and media history more generally, thus assuring a primary pla

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14

Lehnert, Sigrun. "Filmgeräusch im Fokus." Kieler Beiträge zur Filmmusikforschung 18 (November 1, 2024): 35–63. http://dx.doi.org/10.59056/kbzf.2024.18.p35-63.

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Die Geschichte der Einbindung von Geräuscheffekten in Filme reicht bis in die frühen 1910er Jahre zurück, als Kinoorgeln stumme Filme mit Klängen und Pfeifen begleiteten. Mit der Weiterentwicklung des Kinos wurde der Filmsound auch dazu eingesetzt, um das Publikumsengagement zu intensivieren. Dieser Beitrag präsentiert ein didaktisches Konzept für Masterstudierende der Medienwissenschaft, das darauf abzielt, die Ursprünge und Produktionshintergründe von Filmtongestaltungen zu erkunden. Blended Learning, eine Kombination aus synchronen und asynchronen Elementen, wird als Modell für den umgedreh

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15

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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16

Noh, Shihun. "The Surreality of Soundscape in Luis Buñuel’s Film: Focusing on L'âge d'or." Korean Society of Culture and Convergence 45, no. 10 (2023): 443–53. http://dx.doi.org/10.33645/cnc.2023.10.45.10.443.

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The purpose of this study is to examine the relationship between soundscapes and surrealist aesthetics in Buñuel's films, focusing on L'âge d'or. As a result of the examination, it can be seen that in this film music is used to express motifs of the film and paradoxically attack elements that hinder the realization of desire, and dialogue and other sound are used to reinforce the realness of visual images or to oppose the music. In addition, as a result of analyzing the soundscape composition of this film, we were able to identify the characteristics that most of the sounds in this film are ev

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17

Riazantsev, Lev, and Valentyn Lievshakov. "Modern Technologies For Forming The Sound and Visual Film Image: Aspects of Interaction." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 224–40. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289309.

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The purpose of the article. The purpose of the article is to analyze modern technologies for creating a film’s sound and visual image and to reveal the core aspects of interaction in the process of creating an audiovisual product, to analyze the theory of sound, to study the process of film creation, and to reveal the methods used in cinema to form a film’s sound and visual image. Research methodology. The study used the methods of theoretical cognition, namely: analysis – to study the theory of sound and the process of film creation; synthesis – to reflect the interaction between the main ele

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18

Riazantsev, Lev, and Valentyn Lievshakov. "Modern Technologies for Forming the Sound and Visual Film Image: Aspects of Interaction." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 224–40. https://doi.org/10.31866/2617-2674.6.2.2023.289309.

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<strong>The purpose of the article. </strong>The purpose of the article is to analyze modern technologies for creating a film's sound and visual image and to reveal the core aspects of interaction in the process of creating an audiovisual product, to analyze the theory of sound, to study the process of film creation, and to reveal the methods used in cinema to form a film's sound and visual image. <strong>Research methodology. </strong>The study used the methods of theoretical cognition, namely: analysis – to study the theory of sound and the process of film creation; synthesis – to reflect th

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19

Archer, Martin O. "Space Sound Effects Short Film Festival: using the film festival model to inspire creative art–science and reach new audiences." Geoscience Communication 3, no. 1 (2020): 147–66. http://dx.doi.org/10.5194/gc-3-147-2020.

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Abstract. The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with film industry professionals, the standard processes of international film festivals were adopted by the project in order to challenge independent filmmakers to incorporate these sounds into

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20

MILLER, M. D., and E. KROTSCHECK. "THEORY OF THIRD SOUND AND STABILITY OF THIN 3He–4He SUPERFLUID FILMS." International Journal of Modern Physics B 21, no. 13n14 (2007): 2091–102. http://dx.doi.org/10.1142/s021797920704349x.

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In this paper, we summarize the results of recent studies of third sound in thin, superfluid 3 He -4 He mixture films and the relation of the third sound spectrum to the question of the films' thermodynamic stability. We have considered films on several representative substrates: Nuclepore, glass, Li and Na . Our approach utilizes the variational, hypernetted chain/Euler-Lagrange (HNC–EL) theory as applied to inhomogeneous boson systems to calculate chemical potentials for both the 4 He superfluid film and the physisorbed 3 He . Numerical density derivatives of the chemical potentials lead to

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21

Langkjær, Birger. "Making fictions sound real - On film sound, perceptual realism and genre." MedieKultur: Journal of media and communication research 26, no. 48 (2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2115.

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This article examines the role that sound plays in making fictions perceptually real to film audiences, whether these fictions are realist or non-realist in content and narrative form. I will argue that some aspects of film sound practices and the kind of experiences they trigger are related to basic rules of human perception, whereas others are more properly explained in relation to how aesthetic devices, including sound, are used to characterise the fiction and thereby make it perceptually real to its audience. Finally, I will argue that not all genres can be defined by a simple taxonomy of

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22

Zornado, Jack. "Hitchcock and the Internalization of Soviet Sound Theory." Film Matters 13, no. 1 (2022): 148–57. http://dx.doi.org/10.1386/fm_00211_1.

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This article provides an overview of the trajectory of Alfred Hitchcock’s use of film sound as it relates to Soviet sound theory. I begin with his first use of sound in Blackmail (1929), tracing a line through his middle period with Strangers on a Train (1951), and end with a film from his late period, The Birds (1963). My analysis of Hitchcock’s use of sound in these films shows the influence of Soviet sound theory and its affects on his films and his own cinematic style.

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23

Ye, Lei. "Onomatopoeia, Sound Effects and Humour in Japanese Anime and US Animation Films and Television." Animation 18, no. 3 (2023): 273–91. http://dx.doi.org/10.1177/17468477231206681.

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Onomatopoeia are words signifying sounds by phonetically imitating or suggesting them. Research into the use of onomatopoeia in literature, language and comics has been rich and varied while the study of the use of onomatopoeia in film, television and their functions has so far been limited. This article focuses on two aspects: (a) the relationship between onomatopoeia and sound effects in US animation and Japanese anime; and (b) audiovisual humour caused by the use of onomatopoeia and sound effects in US animation and Japanese anime. The author introduces classifications and usage patterns of

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24

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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25

REDFERN, NICK. "Sound in Horror Film Trailers." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.

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In this paper I analyse the soundtracks of fifty horror film trailers, combining formal analysis of the soundtracks with quantitative methods to describe and analyse how sound creates a dominant emotional tone for audiences through the use of different types of sounds (dialogue, music, and sound effects) and the different sound envelopes of affective events. The results show that horror trailers have a three-part structure that involves establishing the narrative, emotionally engaging the audience, and communicating marketing information. The soundtrack is organised in such a way that differen

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26

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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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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Jackson, Brad. "Sound Anchors." Projections 16, no. 3 (2022): 61–82. http://dx.doi.org/10.3167/proj.2022.160303.

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When watching a film, we engage with much more than combinations of moving images. We combine what we see with what we hear, and what we hear often aids in the construction of a story. Although some researchers endorse the ways sound guides viewer expectations, there is still a need to explain the ways images, sounds, and other available cinematic modes interact to construct meaning. This article engages with research on embodiment, cognition, and multimodal artifacts to reveal how sound aids in the construction of film narratives by focusing on examples where sounds take the primary role in c

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Riazantsev, Lev, and Yevheniia Yevdokymenko. "Managing Stages of Film Sound Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (2021): 244–51. https://doi.org/10.31866/2617-2674.4.2.2021.248702.

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<em>The purpose of this article </em>is to analyse the main stages of sound production in film. The study aims to establish the main principles of film sound design, prove the importance of a rational approach to each stage in the context of their impact on the results of the study, and determine the role of sound in film dramaturgy. <em>The research methodology </em>is based on theoretical methods, namely an analysis of information sources, comparison of Ukrainian and foreign approaches to filmmaking, generalisation and systematisation of practical knowledge and experience of s

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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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Efimova, Natalia Nikolaevna. "Sound Editing in Screen Works." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 73–81. http://dx.doi.org/10.17816/vgik7273-81.

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The article pinpoints peculiarities of sound editing in movies basing on analysis of partitions of popular films of40-90s; the most frequent principles of sound track arrangement are examined for the first time. The stuff selection is conditioned by measure of popularity of screen works in question. Due to talent of such famous composers as I. Dunaevsky, S. Prokofiev, A. Khachaturian, A. Pakhmutova, A. Petrov et al and their ability to hear plastic imagery, to comprehend filmic atmosphere music plays an extremely important part in these films. Many songs from these films are still in circulati

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Koneva, Maria Nikolayevna. "Planning Element as a Narrative Method in Moulding of Audiovisual Imagery in Documentaries." Journal of Flm Arts and Film Studies 6, no. 3 (2014): 126–33. http://dx.doi.org/10.17816/vgik63126-133.

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The article is devoted to the artistic relevance of sound design as one of the most significant elements of film, specifically, in documentary. The author explores the phenomenon emerging at the interface of various genres and tendencies in film art focusing mainly on the auteurs conception realized through such notions as sound scale, depth and prominence of soundy.

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Tatnell, David M., Mark S. Heath, Steven P. Hepplestone, et al. "Coupling and confinement of current in thermoacoustic phased arrays." Science Advances 6, no. 27 (2020): eabb2752. http://dx.doi.org/10.1126/sciadv.abb2752.

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When a medium is rapidly heated and cooled, heat transfers to its surroundings as sound. A controllable source of this sound is realized through joule heating of thin, conductive films by an alternating current. Here, we show that arrays of these sources generate sound unique to this mechanism. From the sound alone, we spatially resolve current flow by varying the film geometry and electrical phase. Confinement concentrates heat to such a degree that the film properties become largely irrelevant. Electrical coupling between sources creates its own distinctive sound that depends on the current

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Altman, Rick. "Establishing Sound." Cinémas 24, no. 1 (2014): 19–33. http://dx.doi.org/10.7202/1023108ar.

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The history of film sound has usually been configured as a series of technological upheavals. In every case, the story has been told through technological innovations, as if changes in technology were alone responsible for the development of new sound strategies. The approach offered here differs markedly from these previous treatments of sound. Instead of concentrating on technological shifts, this article stresses technical decisions made by the soundmen and directors responsible for developing Hollywood’s standard approach to sound. Through succinct analysis of two key films, The First Auto

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Stutterheim, Kerstin. "Sound Dramaturgy." International Journal of Film and Media Arts 8, no. 3 (2023): 59–73. http://dx.doi.org/10.24140/ijfma.v8.n3.04.

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Sound dramaturgy as part of the aesthetic design of documentary films is invisible but most relevant, although often overlooked. The chapter gives a short introduction to dramaturgy and the importance of sound dramaturgy as most impactful for documentary film productions. The main discussion focusses on sound dramaturgy in films as The End Of Time (Mettler); The Island Of The Hungry Ghosts (Brady 2018), The Wale And The Raven (Leuze 2019) and El Sembrador de Estrellas (The Sower of Stars) by Lois Patiño. An analysis and discussion of the components of sound and music as part of the overall dra

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Zhang, Tingying, Jiyang Zhang, Pengxuan Zheng, Hong Hou, and Ying Xu. "Study on Sound Absorption Properties of Polyvinyl Chloride (PVC) Film Multicavity Structure Materials." Shock and Vibration 2024 (April 2, 2024): 1–16. http://dx.doi.org/10.1155/2024/3820651.

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Since the development of industry, sound absorption and noise reduction have gradually become an urgent problem to be solved. Lightweight polymer film materials are very effective in response to sound waves, and sound waves can easily cause vibration of the film, which can convert sound energy into vibration and film friction to achieve sound absorption. The application conditions of the film material are very harsh, that is, a support body is required to fix the film and the film needs to be tensioned. The film is very thin and easy to damage. The idea of this research is to transform the fil

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Prince, Stephen. ": Sound-on-Film: Interviews with Creators of Film Sound . Vincent LoBrutto." Film Quarterly 49, no. 1 (1995): 64. http://dx.doi.org/10.1525/fq.1995.49.1.04a00300.

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38

Papchenko, Valerii, and Vladyslav Silin. "Sound in Modern Screen Discourse." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 200–207. https://doi.org/10.31866/2617-2674.2.2.2019.185710.

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The purpose of the study is to identify the means and methods of introducing new technologies to provide the screen arts with sound and sound effects. The methodology of the study implies the use of a general scientific approach; comparative and historical methods are also applied. The novelty of the study is that: a) the historical aspects of the formation and development of sound systems in cinema are analyzed, b) the peculiarities of the creative approach of cinema sound directors to sound recording are analyzed. Conclusions. The study found that in order to fo

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39

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

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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from <em>musique concrète</em> 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

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40

Hill, James W., and Eugene N. Finley. "Sound mixing system for film sound editing." Journal of the Acoustical Society of America 81, no. 1 (1987): 211. http://dx.doi.org/10.1121/1.394977.

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41

MacDonald, Shana. "Voicing Dissonance." Feminist Media Histories 1, no. 4 (2015): 89–107. http://dx.doi.org/10.1525/fmh.2015.1.4.89.

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This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarize

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42

Malekpour, Miniature. "The Cultural Dialogue of Fidelity and Rendering in the Music of Googoosh in Hamsafar (1975)." Resonance 3, no. 4 (2022): 379–93. http://dx.doi.org/10.1525/res.2022.3.4.379.

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This study examines the role of sound and the cultural dialogue of “transnational status” in pre-revolutionary Iranian cinema, and more specifically, in the film-Farsi period. This study contributes to the literature because it mainly investigates how gender consciousness was promoted through the music soundscape in film-Farsi. The case study used to analyze and dissect the relationship—or rather, the borders and boundaries between the cultural dialogue of sound and music in film-Farsi—is the 1975 film Hamsafar (Fellow Traveler), directed by Masoud Asadollah. This paper will be of interest to

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43

Pope, Norris. "Film History as Film Stock History: American Production Choices, 1937–1940." Film History: An International Journal 35, no. 2 (2023): 72–94. http://dx.doi.org/10.2979/fih.00004.

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ABSTRACT: This essay examines the cinematic possibilities and reception of an important group of 35mm fine-grain, black-and-white, negative film stocks introduced in America in the period from 1937 to 1940. These new stocks included camera stocks, sound-recording stocks, duplicating stocks, and release-print stocks. All these new stocks were unprecedented in their ability to combine faster emulsion speeds with impressively fine grain—innovations in film manufacture that contributed significantly to improved images and sound quality in black-and-white theatrical films.

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44

Kattelman, Beth. "The sound of evil: How the sound design of Hereditary manifests the unseen and triggers fear." Horror Studies 13, no. 1 (2022): 133–48. http://dx.doi.org/10.1386/host_00050_1.

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This article examines the soundtrack and score for Ari Aster’s 2018 film Hereditary, illustrating how the sound design heightens the film’s emotional and psychological impact by delivering unseen elements of the narrative auditorily and through its inclusion of sonic elements that can directly affect audience members physiologically. Hereditary’s narrative is strongly supported by musician Colin Stetson’s evocative score, which relies heavily upon his ability to coax unusual sounds from reed instruments by using uncommon fingerings, accompanying vocalizations, percussive key striking and circu

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45

Yin, Xiaokai, Yongchao Xu, and Hongyu Cui. "Research on Low Frequency Sound Insulation Properties of Membrane-Type Acoustic Metamaterials." IOP Conference Series: Materials Science and Engineering 1210, no. 1 (2021): 012001. http://dx.doi.org/10.1088/1757-899x/1210/1/012001.

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Abstract To solve the problem of low-frequency noise control in ship cabins, a new membrane-type acoustic metamaterial (MAM) with bulges on the surface of thin films is designed based on the characteristics of lightweight and low-frequency sound insulation of membrane-type acoustic metamaterials. The sound structure coupling module of COMSOL multiphysical field coupling software is used to analyse the sound insulation performance of MAMs. The sound insulation properties of the additional mass film and self-similar fractal convex structure are further discussed. The metamaterial structure studi

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46

Riazantsev, Lev. "The Influence of Sound Technology on the Formation of the Musical Film." Bulletin of KNUKiM. Series in Arts, no. 39 (December 10, 2018): 64–70. https://doi.org/10.31866/2410-1176.39.2018.153657.

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The purpose of the article is to analyze the influence of sound technology on the formation of the musical film. The research methodology involved the use of audiovisual analysis of the first musical films, which allowed for understanding the value of sound technology in the establishment of the musical film. The scientific novelty of the work lies in the strict analysis of the development of the first sound technology and revealing its influence on the formation of the musical film. Conclusions. The advent of sound into cinematography led to the destruc

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47

Scotto le Massese, Audrey. "Sound and Perception in Ridley Scott’s Blade Runner (1982)." Arts 13, no. 5 (2024): 154. http://dx.doi.org/10.3390/arts13050154.

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This paper discusses the renewal of the conception of film sound and music following the technological advances of the late 1970s. It analyses the ways in which film sound and music freed themselves from traditional uses and became elements to be designed creatively. The soundtrack composed by Vangelis for Blade Runner (1982) is exceptional in this regard: produced in parallel to the editing of the film, it forged an intimate connection between sound and image. Through the method of reduced listening put forward by Michel Chion in Audio-Vision (2019), this paper scrutinizes the specific ways i

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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.

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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure

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Griffith, Frank, and David Machin. "Communicating the ideas and attitudes of spying in film music: A social semiotic approach." Sign Systems Studies 42, no. 1 (2014): 72–97. http://dx.doi.org/10.12697/sss.2014.42.1.04.

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Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Following other scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how we can draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe the semiotic resources available to composers to allow them to communicate quite specific ideas, attitudes and identities through comb

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50

Riazantsev, Lev, and Yevheniia Yevdokymenko. "Managing Stages of Film Sound Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (2021): 244–51. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248702.

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The purpose of this article is to analyse the main stages of sound production in film. The study aims to establish the main principles of film sound design, prove the importance of a rational approach to each stage in the context of their impact on the results of the study, and determine the role of sound in film dramaturgy. The research methodology is based on theoretical methods, namely an analysis of information sources, comparison of Ukrainian and foreign approaches to filmmaking, generalisation and systematisation of practical knowledge and experience of sound production in film from the

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