Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 19 of 19 Parameters |
| Altman, R. (Ed.). (1992). Sound theory sound practice. New York: Routledge. |
 
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| Added by: Mark Grimshaw-Aagaard 14/12/2004, 20:18 | |
| Altman, R. (1992). Afterword: A baker's dozen terms for sound analysis. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 249–253). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 04/11/2004, 11:57 | |
| Altman, R. (1992). General introduction: Cinema as event. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 1–14). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 18/04/2005, 16:26 | |
| Altman, R. (1992). Introduction: Four and a half film fallacies. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 35–45). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 23/04/2007, 21:17 | |
| Altman, R. (1992). Introduction: Sound/history. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 113–125). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 11:56 | |
| Altman, R. (1992). Introduction: Sound's dark corners. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 171–177). New York: Routledge. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/01/2006, 08:51 | |
| A reminder that sound could not be recorded/stored (unlike image) until the latter quarter of the C19th. The science and theorizing of sound is a relatively new subject and younger than that of image - the reason why sound theory often uses terminology borrowed from visual science. | |
| Altman, R. (1992). Sound space. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 46–64). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 16/02/2006, 07:28 | |
| As the image on screen flits about incessantly drawing our eyes hither and thither, it is the sound track, with its constant scale, that provides stability and an anchorage. "It is thus the sound track that provides a base for visual identification, that authorizes vision and makes it possible. The identity of Hollywood spectators begins with their ability to be auditors." | |
| Summarizing 1930's film sound theoretician J.P. Maxfield "the sound track must carry, independently from the image, all the information necessary to reconstruct the "real" space of the scene (that is, the one represented by the image)." | |
| By the end of the '30s, sound scale/image scale proportionality had been discarded in favour of (dialogue) intelligibility. The notion of the internal auditor (point-of-audition) was developed -- the spectator is required to identify with or inhabit the body of an on-screen character who will hear for us. Reverberation is used to identify sound intended for this character (little or no reverb) or not (greater ratio of reverberated sound to direct sound). The spectator is inserted into the film narrative "at the very intersection of two spaces [film space and the internal auditor's space (the character's body)] which the image alone is incapable of linking, thus giving us the sensation of controlling the relationship between those spaces." (p.61) | |
| An important point here is the relation between sound scale and image scale and the effect on film sound of single microphone technique, multiple mikes, mixing, sound editing, microhpone placements etc. In the early '30s, the emphasis was directed to authentic spatial recording (with a human body analogy) but, with the development of condensor microphones (required to be close to the sound source) and boom technology, this shifted to an emphasis on clarity (of dialogue). This had implications for mixing in post-production leading to the contruction of a sound track rather that its recording. By the end of the decade, attempts to match sound scale accurately to image scale had been all but discarded. | |
| Altman, R. (1992). The material heterogeneity of recorded sound. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 15–31). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 14/10/2004, 12:19 | |
| "Systematically, the name of a sound refers to the production of sound and not to its consumption, to the object making the sound rather than the person perceiving it." | |
| "If there were no connection between the apparent sound event and the original sound source, recorded sound would not have its extraordinary capacity for idealogical impact. ... Between the illusion of reproduction and the reality of representation lies the discursive power of recorded sound." | |
| "What our ears are doing is a form of narrative analysis." | |
| Belton, J. (1992). 1950s magnetic sound: The frozen revolution. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 154–167). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 14:44 | |
| Claims that magnetic sound (surround) in the 1950s was the first instance of off-screen dialogue actually emanating from off-screen. Microphone placement during recording (close to the sound source rather than at the camera's subjective position) and theatre speaker placement created this effect. "The effect was decidedly theatrical ... spectacularizing the concept of voice off." | |
| Discussing the fourth (surround) sound track of 1950s' magnetic stereo recording, Belton argues that while travelling sound might have been more technically realistic (than mono from behind the screen), it drew attention to itself and so was perceived as artifice "violating the timeworn conventions of stylistic invisibility which governed Hollywood filmmaking practice and which insured that the audience's access to the events which unfolded before them would be unmediated (that is, realistic)." | |
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Discussing the battle between mono and stereo film sound in the 1950s: "Through its usage as an element of spectacle and through its identification with the genres of spectacle, stereo sound became associated for audiences not so much with greater realism as with greater artifice." He remarks later (p.160) on comments made by others that there is a comparison to the transition from B&W to colour where colour was seen by audiences as indicative of fantasy, spectacle and animation -- the opposite to B&W which signified realism. |
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| Chion, M. (1992). Wasted words. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 104–110). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 10:29 | |
| Claims that where visual blurring in film is a rhetorical device to signify unconsciousness, the same doesn't apply to blurring (deliberately making unintelligible) speech. We "hear only a technical process, instead of a subjective experience." This is mainly because sound is not as easy to selectively eliminate as image (by turning away for example). | |
| Curtis, S. (1992). The sound of the early Warner Bros. cartoons. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 191–203). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 13/02/2020, 12:23 | |
| In terms of film [sound], Curtiss defines the term 'diegetic' as "that which is accessible to the characters of a film". | |
| Live-action films tend to use indexical sound where there is a direct, causal relationship between the sign and the signifier, the sound and the object. Cartoons only use iconic sound "... indexicality is impossible in a cartoon." | |
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Rather than use diegetic/non-diegetic, Scott uses isomorphic and iconic for music/effects in cartoons -- the former particularly in cartoons which have been animated to a pre-determined musical beat (hence difficulties with former terminology). "If isomorphic relations refer to those governed by rhythm and movement, then iconic relations pertain to analogous relationships between visual events and the timbre, volume, pitch and tone of the accompanying sound." Here, 'isomorphism' means same-shape whereas 'iconic' is used in a semiotic sense (C.S. Peirce) -- as an anology between the sound and the object. |
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| Talking of early Looney Tunes production technique: although much of the music was composed and dubbed on after the animation, a musical beat was usually decided upon before artwork began. A reversal of the usual (film production) sound/image hierarchy. | |
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Although distinctions (certainly in practice) are clear between dialogue/music/effects in feature films, the distinction is less clear in animations (particularly early cartoons) and sometimes not there at all. This is particularly noticeable where the music is used for sound effects (he discusses this later as isomorphic and iconic sound) as played by the orchestra. Although owing a debt to the musical accompaniment of silent film, this was often a function of the difficulties in post-production mixing (loss of music quality) or of using a single microphone to record all sound simultaneously. By 1933, technological advances enabled dialogue and music (+ FX) to be recorded separately and mixed/dubbed later (hence cartoons of this period now have (clear) dialogue over the music. |
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| Ďurovičová, N. (1992). Translating America: The Hollywood multilinguals 1929-1933. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 138–153). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/10/2006, 12:00 | |
| Klimek, M. P. (1992). Imagining the sound(s) of Shakespeare: Sound and adaptation. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 204–216). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 01/11/2004, 10:44 | |
| Lastra, J. (1992). Reading, writing, and representing sound. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 65–86). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/03/2006, 13:09 | |
| "Those aspects of a sound which mark it as authentic are never simply self-evident "attributes" of that sound. Only their inscription within a system allowing or requiring them to become perceptible gives them a semiotic import within that system. Thus, the supposed unique attributes of an original sound become significant and, to a certain degree, perceptible as such only through their constitution as signs -- precisely that which is not unique." | |
| ""real" space is simply not an issue for most images on screen -- their scale and angle are functions of narrative emphasis, not of more or less precise perception." | |
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Developing Altman's description of 1930s sound recording/representation development (spatial fidelity giving way to intelligibility): "A recording with a high degree of reflected sound, or some other indication of spatial signature, is linked to sound considered as an event, while closely-miked sound, with a relatively "contextless" spatial signature, is linked to sound considered as an intelligible structure -- as a signifying element with a larger structure." Although this is usually aplied to speech, Lastra points out that it also applies to sound FX. |
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| Discussing the notion of an 'original' sound prior to recording and reproduction: "...the primary ideological effect of sound recording might be creation of the effect that there is an "original" independent of its representation." | |
| Here, Lastra is paraphrasing Chrstian Metz to whom what is important is the functional or narrative use of sound in film rather than whether a sound is authentic or not. "...what matters is the ability to identify the source of the sound. ...the sound event must be legible -- it must be recongnizable across a series of different contexts as a culturally defined signifying unit. Against the definition of sound as an essentially unrepeatable event, Metz describes sound as an eminently repeatable and intelligible structure." | |
| Makes the interesting point that, when discussing a recording of sound, much of our understanding of what that sound will be like is derived from assumptions (culturally and technologically derived) as to how that sound was recorded. The sound is therefore pre-structured for us before we get to even hear it. | |
| Lawrence, A. (1992). Women's voices in third world cinema. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 178–190). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 27/10/2004, 16:00 | |
| Ruoff, J. K. (1992). Conventions of sound in documentary. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 217–234). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 01/11/2004, 11:11 | |
| Truppin, A. (1992). And then there was sound: The films of Andrei Tarkovsky. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 235–248). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/01/2006, 01:08 | |
| Tarkovsky's films: "...Tarkovsky's sounds assume a great richness of meaning. ... All sounds of the world [Tarkovsky's film world] can have meaning; all sounds can be signs. ...his ambiguous sounds call out for explanation that is often withheld." Tarkovsky's sounds are very often ambiguous and/or disconcerting. | |
| "...offscreen sound enlarges the film space beyond the borders of the screen. We imagine not only the reality of the world seen on screen, but that of a larger world stretching on indefinitely beyond it." | |
| In Tarkovsky's later films, audiences choose between "accepting that a sound proves the existence of an unseen object and that of believing in the existence of an invisible spiritual world. Because we posit a source for every offscreen diegetic sound, we believe in the existence of this source even when we cannot produce a viable mental image of it. We believe, although we cannot explain or prove." Truppin explains the last paradox as a fundamental of religious faith. | |
| Williams, A. (1992). Historical and theoretical issues in the coming of recorded sound to the cinema. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 126–137). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard 26/10/2004, 12:45 | |
| Wurtzler, S. (1992). "She sang live, but the microphone was turned off": The live, the recorded and the subject of representation. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 87–103). New York: Routledge. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/03/2006, 13:56 | |
| The audiophile has a "fetishistic relationship to the means of representing [in order to gain] increased access to an original performance event" | |
| Representational technologies (including virtual reality) are representations for which there is no original event: "[C]opies are produced for which no original exists" | |
| A representation posits "an absent original event" |