Download or read book Understanding Sound Tracks Through Film Theory written by Elsie Walker and published by Oxford University Press. This book was released on 2015-02-03 with total page 449 pages. Available in PDF, EPUB and Kindle. Book excerpt: Understanding Sound Tracks Through Film Theory breaks new ground by redirecting the arguments of foundational texts within film theory to film sound tracks. Walker includes sustained analyses of particular films according to a range of theoretical approaches: psychoanalysis, feminism, genre studies, post-colonialism, and queer theory. The films come from disparate temporal and industrial contexts: from Classical Hollywood Gothic melodrama (Rebecca) to contemporary, critically-acclaimed science fiction (Gravity). Along with sound tracks from canonical American films including The Searchers and To Have and Have Not, Walker analyzes independent Australasian films: examples include Heavenly Creatures, a New Zealand film that uses music to empower its queer female protagonists; and Ten Canoes, the first Australian feature film with a script entirely in Aboriginal languages. Understanding Sound Tracks Through Film Theory thus not only calls new attention to the significance of sound tracks, but also focuses on the sonic power of characters representing those whose voices have all too often been drowned out. Understanding Sound Tracks Through Film Theory is both rigorous and accessible to all students and scholars with a grasp of cinematic and musical structures. Moreover, the book brings together film studies, musicology, history, politics, and culture and therefore resonates across the liberal arts.
Download or read book Understanding Sound Tracks Through Film Theory written by Elsie M. Walker and published by . This book was released on 2015 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt: Until recently, there was a lack of scholarly attention to the power of hearing cinema as well as seeing it. 'Understanding Sound Tracks Through Film Theory' breaks new ground by redirecting the arguments of foundational texts within film theory to sound tracks. The book includes sustained analyses of particular films according to a wide range of theoretical approaches: feminism, genre studies, postcolonialism, psychoanalysis, and queer theory.
Download or read book Understanding Sound Tracks Through Film Theory written by Elsie M. Walker and published by Oxford University Press, USA. This book was released on 2015 with total page 449 pages. Available in PDF, EPUB and Kindle. Book excerpt: Understanding Sound Tracks Through Film Theory analyzes all aural aspects of cinema using several approaches: feminism, genre studies, post-colonialism, psychoanalysis, and queer theory. In her analysis of each sound track, Walker brings together film studies, musicology, history, politics, and culture in an accessible yet rigorous way.
Download or read book Sound written by Kathryn Kalinak and published by Rutgers University Press. This book was released on 2015-05-01 with total page 345 pages. Available in PDF, EPUB and Kindle. Book excerpt: Sound has always been an integral component of the moviegoing experience. Even during the so-called “silent era,” motion pictures were regularly accompanied by live music, lectures, and sound effects. Today, whether we listen to movies in booming Dolby theaters or on tiny laptop speakers, sonic elements hold our attention and guide our emotional responses. Yet few of us are fully aware of the tremendous collaborative work, involving both artistry and technical wizardry, required to create that cinematic soundscape. Sound, the latest book in the Behind the Silver Screen series, introduces key concepts, seminal moments, and pivotal figures in the development of cinematic sound. Each of the book’s six chapters cover a different era in the history of Hollywood, from silent films to the digital age, and each is written by an expert in that period. Together, the book’s contributors are able to explore a remarkable range of past and present film industry practices, from the hiring of elocution coaches to the marketing of soundtrack records. Not only does the collection highlight the achievements of renowned sound designers and film composers like Ben Burtt and John Williams, it also honors the unsung workers whose inventions, artistry, and performances have shaped the soundscapes of many notable movies. After you read Sound, you’ll never see—or hear—movies in quite the same way. Sound is a volume in the Behind the Silver Screen series—other titles in the series include Acting; Animation; Art Direction and Production Design; Cinematography; Costume, Makeup, and Hair; Directing; Editing and Special Visual Effects; Producing; and Screenwriting.
Download or read book Theories of the Soundtrack written by James Buhler and published by . This book was released on 2019 with total page 337 pages. Available in PDF, EPUB and Kindle. Book excerpt: A theory of the soundtrack is concerned with what belongs to the soundtrack, how a soundtrack is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound and music, classify the types of relations that films have used for image and sound, identify the central problems, and reflect on and describe effective uses of sound in film. This book summarizes and critiques major theories of the soundtrack from roughly 1929 until today. Rather than providing an exhaustive historical survey, it sketches out the range of theoretical approaches that have been applied to the soundtrack since the commercial introduction of the sound film. The basic theoretical framework of each approach is presented, taking into account the explicit and implicit claims about the soundtrack and its relation to other theories. The organization is both chronological and topical, the former in that the chapters move steadily from early film theory through models of the classical system to more recent critical theories; the latter in that the chapters highlight central issues for each generation: the problem of film itself, then of image and sound, of adequate analytical-descriptive models, and finally of critical-interpretative models.
Download or read book Film Music a Very Short Introduction written by Kathryn Kalinak and published by Oxford University Press. This book was released on 2023 with total page 177 pages. Available in PDF, EPUB and Kindle. Book excerpt: "Film Music: A Very Short Introduction focuses on the most central issues in the practice of film music. What is film music? How is it composed? How does film music work? Why does film music work? The rich and deeply moving sounds of film music are as old as cinema. The very first projected moving images were accompanied by music around the globe as a variety of performers-from single piano players to small orchestras-brought images to life. Film music has since become its own industry, an aesthetic platform for expressing creative visions, and a commercial vehicle for generating increased revenue. The second edition updates coverage to 2022 and includes attention to recent developments in global film music, women in film music, and African -American and minority composers"--
Download or read book Hearing the Movies written by James Buhler and published by Oxford University Press. This book was released on 2015-04-01 with total page 592 pages. Available in PDF, EPUB and Kindle. Book excerpt: Hearing the Movies, Second Edition, combines a historical and chronological approach to the study of film music and sound with an emphasis on building listening skills. Through engaging, accessible analyses and exercises, the book covers all aspects of the subject, including how a soundtrack is assembled to accompany the visual content, how music enhances the form and style of key film genres, and how technology has influenced the changing landscape of film music.
Download or read book Hearing Haneke written by Elsie M. Walker and published by Oxford University Press. This book was released on 2018 with total page 233 pages. Available in PDF, EPUB and Kindle. Book excerpt: Michael Haneke's films subject us to extreme experiences of disturbance, desperation, grief, and violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and charged with aggressive dialogue. The sound tracks are even more traumatic to hear than his stories are to see, but they also offer us the transformative possibilities of reawakened sonic awareness. Haneke's use of sound redefines cinema in ways that can help us re-hear everything-including our own voices, and everything around us-better. Though Haneke's films make exceptional demands on us, he is among the most celebrated of living auteurs: he is two-time receipt of the Palme D'Or at Cannes Film Festival (for The White Ribbon (2009) and Amour (2012)), and Academy Award winner of Best Foreign Language Film (for Amour), along with numerous other awards. The radical confrontationality of his cinema makes him an internationally controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define this living legacy. This book explores the haunting, subversive, and political significance of all aural elements through Haneke's major feature films (dialogue, sound effects, silences, and music), all of which are meticulously conducted by him. Many critics read Haneke as coolly dispassionate about showing scenes of humanity under threat, but Hearing Haneke argues that all facets of his sound tracks stress humane understanding and the importance of compassion. This book provides exceptionally detailed analyses of all Haneke's most celebrated films: including The Seventh Continent, Funny Games, Code Unknown, The Piano Teacher, Cach , The White Ribbon, and Amour. The writing brings together film theory, musicology, history, and cultural studies in ways that resonate broadly. Hearing Haneke will matter to anyone who cares about the power of art to inspire progressive change.
Download or read book The Cambridge Companion to Film Music written by Mervyn Cooke and published by Cambridge University Press. This book was released on 2016-12-08 with total page 439 pages. Available in PDF, EPUB and Kindle. Book excerpt: A stimulating and unusually wide-ranging collection of essays overviewing ways in which music functions in film soundtracks.
Download or read book Hollywood Theory Non Hollywood Practice written by Annette Davison and published by Routledge. This book was released on 2017-07-05 with total page 232 pages. Available in PDF, EPUB and Kindle. Book excerpt: Relatively little has been written about film scores and soundtracks outside of Hollywood cinema. Hollywood Theory, Non-Hollywood Practice addresses this gap by looking at the practices of film soundtrack composition for non-Hollywood films made after 1980. Annette Davison argues that since the mid-1970s the model of the classical Hollywood score has functioned as a form of dominant ideology in relation to which alternative scoring and soundtrack practices may assert themselves. The first part of the book explores some of the key theoretical issues and debates in film studies and film music studies. The second part comprises a series of case studies of non-Hollywood scores. Starting with Jean Luc Godard's Pr m: Carmen (1983), Davison argues that the film's score offers a deconstruction of the relationship between sound and image proposed by classical Hollywood film. Derek Jarman's The Garden (1990) takes the debate a step further in its exploration of the possibility that a film's soundtrack may be liberated from slavery to the image track. Wings of Desire (1987) directed by Wim Wenders offers, Davison believes, a negotiation between classical and alternative scoring and soundtrack practices; while David Lynch's Wild at Heart (1990) actually fully integrates scoring and soundtrack practices so that sounds and dialogue are used in musical ways. Seeking to stimulate debate about the aesthetics and interpretation of film scores and soundtracks in general, this book develops an important synthesis of film studies and musicology.
Download or read book Deleuze and Film Music written by Gregg Redner and published by Intellect Books. This book was released on 2010-12-15 with total page 204 pages. Available in PDF, EPUB and Kindle. Book excerpt: The analysis of film music is emerging as one of the fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study, Deleuze and Film Music also offers a solution—a methodological bridge—that will take film music analysis to a new level.
Download or read book What Is Film Theory written by Rushton, Richard and published by McGraw-Hill Education (UK). This book was released on 2010-02-01 with total page 219 pages. Available in PDF, EPUB and Kindle. Book excerpt: 'What is Film Theory? is an introduction to the key elements of film theory. So, what is film theory as a subject? Film studies is divided in to key subjects and themes: there's film art which looks at the aesthetics of film; cinema studies which looks at institutions, films themeselves and the industry; film theory which looks at the concepts, philosophies and disciplines which underline film studies. As such, the book will look at subjects including semiotics and strucutalism, psychoanalysis, formalist film theory, cognitive approaches and neoformalism. In the light of the readers' reports it will also address more 'cultural' issues such as queer theory, ethnicity, postcolonialism and world cinema..
Download or read book Audio vision written by Michel Chion and published by Columbia University Press. This book was released on 1994 with total page 282 pages. Available in PDF, EPUB and Kindle. Book excerpt: Deals with issue of sound in audio-visual images
Download or read book Film Theory written by Robert Stam and published by John Wiley & Sons. This book was released on 2017-11-20 with total page 392 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book is a lively and provoking introduction to film theory. It is suitable for students from any discipline but is particularly aimed at students studying film and literature as it examines issues common to both subjects such as realism, illusionism, narration, point of view, style, semiotics, psychoanalysis and multiculturalism. It also includes coverage of theorists common to both, Barthes, Lacan and Bakhtin among others. Robert Stam, renowned for his clarity of writing, will also include studies of cinema specialists providing readers with a depth of reference not generally available outside the field of film studies itself. Other material covered includes film adaptations of works of literature and analogies between literary and film criticism.
Download or read book Composing for the Cinema written by Ennio Morricone and published by Scarecrow Press. This book was released on 2013-10-10 with total page 311 pages. Available in PDF, EPUB and Kindle. Book excerpt: With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malèna; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved—a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone’s expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone’s passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.
Download or read book Sound Design is the New Score written by Danijela Kulezic-Wilson and published by Oxford University Press. This book was released on 2019-11-01 with total page 224 pages. Available in PDF, EPUB and Kindle. Book excerpt: The practice of blurring the line between score and sound design has transformed contemporary film soundscape by challenging not only the long-established hierarchical relationships between dialogue, music, and sound effects, but also the modes of perception shaped by classical soundtrack practices. The methods of this new trend rely on the language of contemporary popular and art music, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. In Sound Design is the New Score, Kulezic-Wilson explores theoretical, aesthetic, and sensuous dimensions of this new trend, providing a multifaceted portrait of a practice which recognizes the interconnectedness of all soundtrack elements and emphasizes their inherent musicality. The aesthetic concerns of this practice are illuminated through the concept of the aesthetics of reticence which rejects classical narrative and scoring conventions and uses integrated soundtrack strategies to create the space for mystery in art and for individuality in the cinematic experience. The book's emphasis on sensuous and musical aspects of this practice, informed by the feminist discourse on the erotics of art, challenges popular notions about sensory cinema, demonstrating that the sensuousness of film form and its soundscapes is more sophisticated than simply being the result of excessive sensory stimulation facilitated by the use of digital technology or the "intensified" aesthetics it inspires. The discussion is supported by a wide range of case studies from American Independent, Asian, Australian, and European cinemas, including films by Shane Carruth, Claire Denis, Hou Hsiao-Hsien, Harmony Korine, David Michôd, Gus Van Sant, and Peter Strickland.
Download or read book Music in Cinema written by Michel Chion and published by Columbia University Press. This book was released on 2021-10-12 with total page 217 pages. Available in PDF, EPUB and Kindle. Book excerpt: Michel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other. The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer. Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars.
