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Author: James Buhler
Publisher: University of Illinois Press
ISBN: 0252051866
Category : Performing Arts
Languages : en
Pages : 489
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Book Description
Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism. Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell
Author: James Buhler
Publisher: University of Illinois Press
ISBN: 0252051866
Category : Performing Arts
Languages : en
Pages : 489
Get Book Here
Book Description
Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism. Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell
Author: Michel Chion
Publisher: Columbia University Press
ISBN: 9780231108232
Category : Performing Arts
Languages : en
Pages : 204
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Book Description
Chion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.
Author: Michel Chion
Publisher: Columbia University Press
ISBN: 0231552858
Category : Art
Languages : en
Pages : 217
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Book Description
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.
Author: Michel Chion
Publisher: Columbia University Press
ISBN: 9780231078993
Category : Literary Criticism
Languages : en
Pages : 282
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Book Description
Deals with issue of sound in audio-visual images
Author: James Buhler
Publisher: Oxford University Press
ISBN: 9780199987719
Category : Music
Languages : en
Pages : 592
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Book Description
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.
Author: David Sonnenschein
Publisher:
ISBN: 9781615932023
Category : Performing Arts
Languages : en
Pages : 0
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Book Description
"The clash of light sabers in the electrifying duels of Star Wars. The chilling bass line signifying the lurking menace of the shark in Jaws. The otherworldly yet familiar pleas to "phone home" in the enchanting E.T." "These are examples of the different ways sound can contribute to the overall dramatic impact of a film. To craft a distinctive atmosphere, sound design is as important as art direction and cinematography - and it can also be an effective tool to express the personalities of your characters."--Jacket.
Author: David P. Neumeyer
Publisher: Indiana University Press
ISBN: 0253016517
Category : Music
Languages : en
Pages : 336
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Book Description
By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer's 25-year project in the analysis and interpretation of music in film.
Author: Kaja Silverman
Publisher: Indiana University Press
ISBN: 9780253116642
Category : Performing Arts
Languages : en
Pages : 274
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Book Description
"... a vitally new understanding that takes us from the terms of the representation of sexual difference to an anatomy of female subjectivity which will be widely influential." -- Stephen Heath "An original work likely to have significant impact on all those with an interest in the vibrant intersection of feminism, film theory, and psychoanalysis... " -- Naomi Schor "... powerfully argued study... impressive... " -- Choice "... important because of its innovative work on Hollywood's ideologically-charged construction of subjectivity.... what is exciting about The Acoustic Mirror is that it inspires one to reevaluate a number of now classical theoretical texts, and to see films with an eye to how authorship is constructed and subjectivity is generated." -- Literature and Psychology "As evocative as it is shrewdly systematic, the pioneering theory of female subjectivity formulated in the final three chapters will have wide impact as a major contribution to feminist theory." -- SubStance The Acoustic Mirror attempts to do for the sound-track what feminist film theory of the past decade has done for the image-track -- to locate the points at which it is productive of sexual difference. The specific focus is the female voice understood not merely as spoken dialogue, narration, and commentary, but as a fantasmatic projection, and as a metaphor for authorship.
Author: Michel Chion
Publisher: Columbia University Press
ISBN: 023154345X
Category : Performing Arts
Languages : en
Pages : 301
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Book Description
Michel Chion is well known in contemporary film studies for his innovative investigations into aspects of cinema that scholars have traditionally overlooked. Following his work on sound in film in Audio-Vision and Film, a Sound Art, Words on Screen is Chion's survey of everything the seventh art gives us to read on screen. He analyzes titles, credits, and intertitles, but also less obvious forms of writing that appear on screen, from the tear-stained letter in a character's hand to reversed writing seen in mirrors. Through this examination, Chion delves into the multitude of roles that words on screen play: how they can generate narrative, be torn up or consumed but still remain in the viewer's consciousness, take on symbolic dimensions, and bear every possible relation to cinematic space. With his characteristic originality, Chion performs a poetic inventory of the possibilities of written text in the film image. Taking examples from hundreds of films spanning years and genres, from the silents to the present, he probes the ways that words on screen are used and their implications for film analysis and theory. In the process, he opens up and unearths the specific poetry of visual text in film. Exhaustively researched and illustrated with hundreds of examples, Words on Screen is a stunning demonstration of a creative scholar's ability to achieve a radically new understanding of cinema.
Author: Petra Ragnerstam
Publisher: Cambridge Scholars Publishing
ISBN: 1443899003
Category : Performing Arts
Languages : en
Pages : 250
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Book Description
Why is voice so important to us? How does the concept of voice encompass such disparate practices as vocal sound, marks on a page, identity production and the execution of power? With these questions in mind, this book studies voice as both a textual and a bodily phenomenon. By using both drama and film, and by exploring the translation between the two, this study shows that voice can be placed in a grid where the subject, body, language and power interconnect in ways that question established ideas concerning voice – what it is and what it can do. The book investigates how voice, as an expression of the individual subject, is central in the fight for power in plays such as The Crucible by Arthur Miller, Amiri Baraka’s Dutchman and Ntosake Shange’s for colored girls who have considered suicide, where voice is seen as fundamental for political action. However, it also questions the seemingly failsafe connection between voice and the subject. In Eugene O’Neill’s Strange Interlude, the relation between voice and thought is neither harmonious nor given, and thus voice becomes something other than an expression of subjective interiority. The discussion of Clare Booth’s The Women highlights how voice in ironic discourse disrupts notions of intentionality, subjectivity and power in ways that destabilize preconceived notions of voice. Lastly, the chapter on David Mamet’s Glengarry Glen Ross asks if voice really can empower the subject in an age where processes of reification have invaded the subject’s consciousness, including the ability to communicate.
