Belton, J. (1992). 1950s magnetic sound: The frozen revolution. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 154–167). New York: Routledge.
Added by: Mark Grimshaw-Aagaard 26/10/2004, 14:44
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.
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)."
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."
Metz, C. (1985). Aural objects. In E. Weis & J. Belton (Eds.), Film Sound: Theory and Practice. (pp. 154–161). New York: Columbia University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/09/2005, 15:27
Weis, E., & Belton, J. (Eds). (1985). Film sound: Theory and practice. New York: Columbia University Press.
