Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 16 of 16 Parameters |
| Ball, S. K. V. M. (2006). The uncanny in Japanese and American horror film: Hideo Nakata's Ringu and Gore Verbinski's Ring. Unpublished thesis master's, North Carolina State University, Raleigh, NC. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/04/2009, 09:52 | |
| Aural uncanniness is equated to unfamiliarity through (often slight) distortion of familiar sounds. | |
| The sound of horror. 2003, August 29. B. Carpenter (Producer). Boston: WZBC 90.3 FM Boston College. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/11/2008, 07:48 | |
| Ekman, I., & Kajastila, R. 2009, February 11–13, Localisation cues affect emotional judgements: Results from a user study on scary sound. Unpublished paper presented at AES 35th International Conference, London. |
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| Added by: Mark Grimshaw-Aagaard 02/02/2009, 09:39 | |
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Following on work by: R. Reber, N. Schwarz, and P. Winkielman, “Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?” Personality and Social Psychology Review, vol. 8, no. 4, pp. 364—382 (2004). the authors suggest that negativity in sound perception is proportional to the fluency and ease of processing it (more difficult to understand, more scary). |
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Results showed that: 1. front point sounds were less scary than back point sounds. 2. front point sounds are less scary than back spread sounds. 3. Following on from 2., increasing the spread of front sounds and decreasing the spread of back sounds lessened the difference in scariness. |
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| Grimshaw, M. 2009, September 2–3. The audio uncanny valley: Sound, fear and the horror game. Paper presented at Audio Mostly 2009, Glasgow, UK. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/10/2017, 05:43 | |
| Halpern, D. Lynn., Blake, R., & Hillenbrand, J. (1986). Psychoacoustics of a chilling sound. Percept Psychophys, 39(2), 77–80. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/09/2022, 12:23 | |
| Heimerdinger, J. 2011, Music and sound in the horror film & why some modern and avant-garde music lends itself to it so well. Unpublished paper presented at Filmmusiktage. |
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| Added by: Mark Grimshaw-Aagaard 01/08/2015, 19:39 | |
| Hoeger, L., & Huber, W. 2007, September 24–28. Ghostly manipulation: Fatal Frame II and the videogame uncanny. Paper presented at Situated Play, University of Tokyo. |
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| Added by: Mark Grimshaw-Aagaard 08/05/2009, 04:27 | |
| Kelleghan, F. (1996). Sound effects in science fiction and horror films. Retrieved November 20, 2008, from http://filmsound.org/ar ... orsound/horrorsound.htm |
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| Added by: Mark Grimshaw-Aagaard 22/04/2009, 10:11 | |
| Kromand, D. 2008, October 22. Sound and the diegesis in survival-horror games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard 24/11/2008, 10:12 | |
| "The collapse of the barrier between the diegetic and non-diegetic soundscape is a strategy to build a horror atmosphere." | |
| "The soundscape of Silent Hill 2 operates within a framework of uncertainty that constantly holds the player between knowledge and ignorance." | |
| The lack of a barrier between diegetic/nondiegetic sounds "purposefully hinders an efficient transfer of affordance". | |
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Debating Jørgensen's 'trans-diegetic' sound terminology: sound that crosses the barrier between diegetic and nondiegetic worlds (cf Count Basie's orchestra in Blazing Saddles at first seems nondiegetic until the hero comes across the orchestra playing in the desert at which point the music becomes diegetic. Trans-diegesis is a short transgression of the barrier between diegetic/nondiegetic, not a breakdown. The trans-diegetic sound transfers information to the player from the game. Two types, 'reactive sound affirming player input or as a proactive sound informing the player of an altered game state (Jørgensen 2007; 116).' |
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| Krzywinska, T. (2002). Hands-on horror. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 206–223). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 05/10/2004, 12:09 | |
| Talking of horror in film and game: "Sound also plays a crucial role in both media to evoke the emotional impact of horror, and is often linked to the operation of the moral occult. Many videogames deploy sound as a key sign of impending danger, designed to agitate a tingling sense in anticipation of the need to act... These aural cues ... help to create an increased level of expectation and play a significant role in the creation of atmosphere as well as in emotional and structural dynamics of the games." | |
| Mala, E. 2008, November 24. The sound of horror. Newsweek. |
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| Added by: Mark Grimshaw-Aagaard 20/11/2008, 09:46 | |
| "In Asian thrillers, the visual is so powerful that sound is rendered almost inconsequential. Perhaps not coincidentally, Asian horror is often rooted in vision..." | |
| Moncrieff, S., Venkatesh, S., & Dorai, C. 2003, July 6–9. Horror film genre typing and scene labelling via audio analysis. Paper presented at International Conference on Multimedia and Expo. |
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| Added by: Mark Grimshaw-Aagaard 15/12/2008, 02:11 | |
| "The manipulation of sound energy represents a concrete and commonly used method to convey horror themes and to heighten the impact of on-screen events." | |
| Affect events are indexical by nature with a "high level of semantic association between the sound energy and affect events" and this "can be extended to attribute a semantic correlation between affect events and the broader thematic content of the film." | |
| Naito, T. 2005. Interview with Hideo Nakata, specter director. Kateigaho, Winter. |
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| Added by: Mark Grimshaw-Aagaard 20/11/2008, 09:45 | |
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"Other people tend to use different sounds altogether to express horror, but I can increase the perception of it to the maximum by utilizing a very quiet sound." (Mala 2008) cf |
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| Spadoni, R. (2007). The sound and the horror. University of Chicago Magazine, 100(1). Retrieved November 20, 2008, from http://magazine.uchicag ... 0/features/horror.shtml |
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| Added by: Mark Grimshaw-Aagaard 20/11/2008, 07:38 | |
| Spadoni, R. (2007). Uncanny bodies: The coming of sound film and the origins of the horror genre. Berkeley: University of California Press. |
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| Added by: Mark Grimshaw-Aagaard 05/01/2009, 10:05 | |
| Whittington, W. (2007). Sound, silence and horror. Offscreen, 11(8-9). Retrieved November 20, 2008, from http://www.offscreen.co ... /whittington_forum1.pdf |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/11/2008, 08:57 |