| Adorno, T. W., & Horkheimer, M. (2005). The culture industry: Enlightenment as mass deception. Retrieved August 28, 2019, from https://www.marxists.or ... 44/culture-industry.htm |
 
|
| Added by: Mark Grimshaw-Aagaard 29/08/2019, 15:09 |
|
| "Real life is becoming indistinguishable from the movies. The sound film, far surpassing the theatre of illusion, leaves no room for imagination or reflection on the part of the audience, who is unable to respond within the structure of the film, yet deviate from its precise detail without losing the thread of the story; hence the film forces its victims to equate it directly with reality." |
| Alten, S. R. (2002). Audio in media. 6th ed. Belmont CA: Wadsworth/Thomson Learning. |
|
| Added by: Mark Grimshaw-Aagaard 07/03/2006, 13:22 |
|
| "these characteristics are elemental in sonic structure" |
Alten lists a range of sound parameters and their affective responses some of which include:
High pitch -- delicate, light, elevated.
Low pitch -- strong, sinister, peaceful.
Fast tempo -- agitate, excite, accellerate.
Slow tempo -- monotony, dignity, control.
Quick decay -- confinement, closeness, definiteness.
Slow decay -- distance, smoothness, uncertainty. |
| Diegesis. (2003-2006). Wikipedia, Retrieved January 12, 2006, from http://en.wikipedia.org/wiki/Diegetic |
|
| Last edited by: Mark Grimshaw-Aagaard 15/05/2006, 12:44 |
|
"Film sound and music
Sound in films is termed diegetic if it is part of the narrative sphere of the film. For instance, if a character in the film is playing a piano, or turns on a CD, the resulting sound is "diegetic." If, on the other hand, music plays in the background but cannot be heard by the film's characters, it is termed non-diegetic or, more accurately, extra-diegetic. The score of a film (commonly but erroneously called the "sound track") is "non-diegetic" sound.
Example: In The Truman Show, a sequence shows the characters at night, when most of them are sleeping. Soft, soothing music plays, as is common in such scenes, but we assume that it does not exist in the fictional world of the film. However, when the camera cuts to the control room of Truman's artificial world, we see that the mood music is being played by a man standing at a bank of keyboards. This abrupt shift from apparently non-diegetic to diegetic is a kind of cinematic joke." |
| Diegesis (2005). In Oxford English Dictionary Online Oxford: Oxford University Press. |
|
| Last edited by: Mark Grimshaw-Aagaard 01/02/2006, 16:16 |
|
| "The narrative presented by a cinematographic film or literary work; the fictional time, place, characters, and events which constitute the universe of the narrative." |
| Kahn, D. (2002). Digits on the historical pulse: Being a way to think about how so much is happening and has happened in sound in the arts. Retrieved September 21, 2005, from http://cara.gsu.edu/pulsefield/kahn_essay.html |
|
| Last edited by: Mark Grimshaw-Aagaard 21/09/2005, 13:38 |
|
| "Many images elicit an implied sound response. "Implied sound" was a device used in silent films, where an image of someone sawing away on a violin was meant to evoke the sound of a violin." |
| King, G., & Krzywinska, T. (2006). Film studies and digital games. In J. Rutter & J. Bryce (Eds), Understanding digital games (pp. 112–128). London: Sage Publications. |
|
| Added by: Mark Grimshaw-Aagaard 02/06/2007, 02:39 |
|
| "One of the primary building blocks of film studies that can be applied to games is the close analysis of formal characteristics: the precise manner in which sounds and images are organized on the screen" |
| Comparing games to films may highlight similarities or point to differences. |
| Pudovkin, V. I. (1934). Asynchronism as a principle of sound film. Retrieved September 10, 2021, from https://web.archive.org ... ne/575/asynchronism.htm |
|
| Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:29 |
|
| "It would be entirely false to consider sound merely as a mechanical device enabling us to enhance the naturalness of the image." |
| "If we compare the sound to the silent film, we find that it is possible to explain the content more deeply to the spectator with relatively the same expenditure of time." |
