MTU Library Catalogue

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Film sound : theory and practice / edited by Elisabeth Weis and John Belton.

Contributor(s): Weis, Elisabeth, 1944- | Belton, John.
Material type: materialTypeLabelBookPublisher: New York : Columbia University Press, 1985Description: xii, 462 p. ; 24 cm.ISBN: 0231056362; 9780231056366; 0231056370 (pbk.); 9780231056373.Subject(s): Sound motion pictures | Sound -- Recording and reproducing | Motion pictures -- Aesthetics | Photography: specific techniques | Dance | Cinematography Sound recording & sound reproductionDDC classification: 791.43024 WEI
Holdings
Item type Current library Call number Copy number Status Date due Barcode
General lending MTU Kerry North Campus Library First Floor Main 791.43024 WEI (Browse shelf(Opens below)) 1 Checked out 19/05/2022 38888000478747
Total holds: 0

Enhanced descriptions from Syndetics:

The only comprehensive book on film sound, this anthology makes available for the first time and in a single volume major essays by the most respected film historians, aestheticians, and theorists of the past sixty years. In addition, it provides useful models for the analysis of sound stylistics in the form of case studies of a number of the most important sound films ever made. It is a compact primer/handbook which reviews in a coherent, rigorous, yet eminently accessible way the techniques and practices of sound filmmaking from initial recording to final playback in the theater. The book contains essays by Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, Rene Clair, Rudolf Arnheim, Bela Balazs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noe l Burch, Arthur Knight, Lucy Fischer, Noe l Carroll, Alan Williams, Fred Camper, and others. Essays deal in detail with such filmmakers as Lubitsch, Clair, Mamoulian, Vertov, Lang, Pabst, Stahl, Welles, Hitchcock, Renoir, Bresson, Godard, Altman, and Coppola.

"Annotated bibliography on film sound (excluding music) / Claudia Gorbman": p. [427]-445.

Includes bibliographies and index.

Table of contents provided by Syndetics

  • Part 1 History, Technology, and Aesthetics
  • Introduction
  • The Coming of Sound: Technological Change in the American Film Industry
  • Economic Struggle and Hollywood Imperialism: Europe Converts to Sound
  • Film Style and Technology in the Thirties: Sound
  • The Evolution of Sound Technology
  • Ideology and the Practice of Sound Editing and Mixing
  • Technology and Aesthetics of Film Sound
  • Part II Theory
  • Section 1 Classical Sound Theory A Statement
  • Asynchronism as a Principle of Sound Film
  • The Art of Sound
  • Manifesto: Dialogue on Sound
  • A New Laoco÷n: Artistic Composites and the Talking Film
  • Theory of Film: Sound
  • Dialogue and Sound
  • Slow-Motion Sound
  • Section 2 Modern Sound Theory Notes on Sound
  • Direct Sound: An Interview with
  • Aural Objects
  • The Voice in the Cinema: The Articulation of Body and Space
  • Part III Practice
  • Section I Practice and Methodology Fundamental Aesthetics of Sound in the Cinema
  • On the Structural Use of Sound
  • Section 2 Pioneers The Movies Learn to Talk: Ernst Lubitsch
  • American Sound Films, 1926-1930,
  • Applause: The Visual and Acoustic Landscape
  • Enthusiasm: From Kino-Eye to Radio Eye
  • Lang and Pabst: Paradigms for Early Sound Practice
  • The Voice of Silence: Sound Style in John Stahl's Back Street
  • Section 3 Stylists Orson Welle's Use of Sound
  • The Evolution of Hitchcock's Aural Style and Sound in The Birds
  • The Sound Track of The Rules of the Game
  • Sound in Bresson's Mouchette
  • Godard's Use of Sound
  • Section 4 Contemporary Innovators Altman, Dolby, and the Second Sound Revolution
  • Sound Mixing and Apocalypse Now: An Interview with Walter Murch
  • The Sound Designer
  • Sound and Silence in Narrative and Nonnarrative Cinema