The only comprehensive book on film sound, this anthology makes available for the first time and in a single volume major essays by the most respected film historians, aestheticians, and theorists of the past sixty years. In addition, it provides useful models for the analysis of sound stylistics in the form of case studies of a number of the most important sound films ever made. It is a compact primer/handbook which reviews in a coherent, rigorous, yet eminently accessible way the techniques and practices of sound filmmaking from initial recording to final playback in the theater. The book…mehr
The only comprehensive book on film sound, this anthology makes available for the first time and in a single volume major essays by the most respected film historians, aestheticians, and theorists of the past sixty years. In addition, it provides useful models for the analysis of sound stylistics in the form of case studies of a number of the most important sound films ever made. It is a compact primer/handbook which reviews in a coherent, rigorous, yet eminently accessible way the techniques and practices of sound filmmaking from initial recording to final playback in the theater. The book contains essays by Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, Rene' Clair, Rudolf Arnheim, Bela Balazs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noe"l Burch, Arthur Knight, Lucy Fischer, Noe"l Carroll, Alan Williams, Fred Camper, and others. Essays deal in detail with such filmmakers as Lubitsch, Clair, Mamoulian, Vertov, Lang, Pabst, Stahl, Welles, Hitchcock, Renoir, Bresson, Godard, Altman, and Coppola.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Elisabeth Weis is professor of film at Brooklyn College and the Graduate Center of the City University of New York and executive director of the National Society of Film Critics. She has written or edited books on sound, comedy, and star acting. John Belton is professor of English and film at Rutgers University and the author of five books, including Widescreen Cinema, winner of the Kraszna-Krausz prize for books on the moving image, and American Cinema/American Culture, a textbook accompanying the PBS series American Cinema. He has also edited three books, including Alfred Hitchcock's Rear Window, and is associate editor of the journal Film History.
Inhaltsangabe
Part 1. History, Technology, and Aesthetics Introduction The Coming of Sound: Technological Change in the American Film Industry, by Douglas Gomery Economic Struggle and Hollywood Imperialism: Europe Converts to Sound, by Douglas Gomery Film Style and Technology in the Thirties: Sound, by Barry Salt The Evolution of Sound Technology, by Rick Altman Ideology and the Practice of Sound Editing and Mixing, by Mary Ann Doane Technology and Aesthetics of Film Sound, by John Belton Part II: Theory Section 1: Classical Sound Theory A Statement, by S. M. Eisenstein, V. I. Pudovkin, and G. V. Alexandrov Asynchronism as a Principle of Sound Film, by V. I. Pudovkin The Art of Sound, by René Clair Manifesto: Dialogue on Sound, by Basil Wright and B. Vivian Braun Sound in Films, by Alberto Cavalcanti A New Laocoön: Artistic Composites and the Talking Film, by Rudolph Arnheim Theory of Film: Sound, by Bela Balazs Dialogue and Sound, by Siegfried Kracauer Slow-Motion Sound, by Jean Epstein Section 2: Modern Sound Theory Notes on Sound, by Robert Bresson Direct Sound: An Interview with, by Jean-Marie Straub and Danièle Huillet Aural Objects, by Christian Metz The Voice in the Cinema: The Articulation of Body and Space, by Mary Ann Doane Part III: Practice Section I: Practice and Methodology Fundamental Aesthetics of Sound in the Cinema, by David Bordwell and Kristin Thompson On the Structural Use of Sound, by Noël Burch Section 2: Pioneers The Movies Learn to Talk: Ernst Lubitsch, René Clair, and Rouben Mamoulian, by Arthur Knight American Sound Films, 1926-1930,, by Ron Mottram Applause: The Visual and Acoustic Landscape, by Lucy Fischer Enthusiasm: From Kino-Eye to Radio Eye, by Lucy Fischer Lang and Pabst: Paradigms for Early Sound Practice, by Noël Carroll The Voice of Silence: Sound Style in John Stahl's Back Street, by Martin Rubin Section 3: Stylists Orson Welle's Use of Sound, by Penny Mintz The Evolution of Hitchcock's Aural Style and Sound in The Birds, by Elisabeth Weis The Sound Track of The Rules of the Game, by Michael Litle Sound in Bresson's Mouchette, by Lindley Hanlon Godard's Use of Sound, by Alan Williams Section 4: Contemporary Innovators Altman, Dolby, and the Second Sound Revolution, by Charles Schreger Sound Mixing and Apocalypse Now: An Interview with Walter Murch, by Frank Paine The Sound Designer, by Marc Mancini Sound and Silence in Narrative and Nonnarrative Cinema, by Fred Camper
Part 1. History, Technology, and Aesthetics Introduction The Coming of Sound: Technological Change in the American Film Industry, by Douglas Gomery Economic Struggle and Hollywood Imperialism: Europe Converts to Sound, by Douglas Gomery Film Style and Technology in the Thirties: Sound, by Barry Salt The Evolution of Sound Technology, by Rick Altman Ideology and the Practice of Sound Editing and Mixing, by Mary Ann Doane Technology and Aesthetics of Film Sound, by John Belton Part II: Theory Section 1: Classical Sound Theory A Statement, by S. M. Eisenstein, V. I. Pudovkin, and G. V. Alexandrov Asynchronism as a Principle of Sound Film, by V. I. Pudovkin The Art of Sound, by René Clair Manifesto: Dialogue on Sound, by Basil Wright and B. Vivian Braun Sound in Films, by Alberto Cavalcanti A New Laocoön: Artistic Composites and the Talking Film, by Rudolph Arnheim Theory of Film: Sound, by Bela Balazs Dialogue and Sound, by Siegfried Kracauer Slow-Motion Sound, by Jean Epstein Section 2: Modern Sound Theory Notes on Sound, by Robert Bresson Direct Sound: An Interview with, by Jean-Marie Straub and Danièle Huillet Aural Objects, by Christian Metz The Voice in the Cinema: The Articulation of Body and Space, by Mary Ann Doane Part III: Practice Section I: Practice and Methodology Fundamental Aesthetics of Sound in the Cinema, by David Bordwell and Kristin Thompson On the Structural Use of Sound, by Noël Burch Section 2: Pioneers The Movies Learn to Talk: Ernst Lubitsch, René Clair, and Rouben Mamoulian, by Arthur Knight American Sound Films, 1926-1930,, by Ron Mottram Applause: The Visual and Acoustic Landscape, by Lucy Fischer Enthusiasm: From Kino-Eye to Radio Eye, by Lucy Fischer Lang and Pabst: Paradigms for Early Sound Practice, by Noël Carroll The Voice of Silence: Sound Style in John Stahl's Back Street, by Martin Rubin Section 3: Stylists Orson Welle's Use of Sound, by Penny Mintz The Evolution of Hitchcock's Aural Style and Sound in The Birds, by Elisabeth Weis The Sound Track of The Rules of the Game, by Michael Litle Sound in Bresson's Mouchette, by Lindley Hanlon Godard's Use of Sound, by Alan Williams Section 4: Contemporary Innovators Altman, Dolby, and the Second Sound Revolution, by Charles Schreger Sound Mixing and Apocalypse Now: An Interview with Walter Murch, by Frank Paine The Sound Designer, by Marc Mancini Sound and Silence in Narrative and Nonnarrative Cinema, by Fred Camper
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