Music, Sound and Filmmakers
Music, Sound and Filmmakers

Author: James Wierzbicki

Publisher: Routledge

Published: 2012-08-06

Total Pages: 234

ISBN-13: 1136597018

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Music, Sound and Filmmakers: Sonic Style in Cinema is a collection of essays that examine the work of filmmakers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of directors Wes Anderson, Ingmar Bergman, the Coen brothers, Peter Greenaway, Krzysztof Kieślowski, Stanley Kubrick, David Lynch, Quentin Tarantino, Andrey Tarkovsky and Gus Van Sant. Significantly, the anthology includes a discussion of films administratively controlled by such famously sound-conscious producers as David O. Selznick and Val Lewton. Written by the leading film music scholars from Europe, North America, and Australia, Music, Sound and Filmmakers: Sonic Style in Cinema will complement other volumes in Film Music coursework, or stand on its own among a body of research.

Music, Sound and Filmmakers
Music, Sound and Filmmakers

Author: James Eugene Wierzbicki

Publisher: Routledge

Published: 2012

Total Pages: 234

ISBN-13: 0415898943

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This book is a collection of essays that examine the work of filmmakers whose concern is not just for the eye, but also for the ear.

The Sound of Pictures
The Sound of Pictures

Author: Andrew Ford

Publisher: ReadHowYouWant.com

Published: 2011-02

Total Pages: 426

ISBN-13: 1458762947

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The Sound of Pictures is an illuminating journey through the soundtracks of more than 400 films. How do filmmakers play with sound? And how does that affect the way we watch their movies? Whether pop or classical, sweeping or sparse, music plays a crucial role in our cinematic experience. Other sounds can be even more evocative: the sounds of na...

Music in Cinema
Music in Cinema

Author: Michel Chion

Publisher: Columbia University Press

Published: 2021-10-12

Total Pages: 217

ISBN-13: 0231552858

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Michel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other. The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer. Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars.

The Music and Sound of Experimental Film
The Music and Sound of Experimental Film

Author: Holly Rogers

Publisher: Oxford University Press

Published: 2017-06-29

Total Pages: 337

ISBN-13: 0190469919

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This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

Film Rhythm After Sound
Film Rhythm After Sound

Author: Lea Jacobs

Publisher: Univ of California Press

Published: 2015

Total Pages: 280

ISBN-13: 0520279654

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The seemingly effortless integration of sound, movement, and editing in films of the late 1930s stands in vivid contrast to the awkwardness of the first talkies. Film Rhythm after Sound analyzes this evolution via close examination of important prototypes of early sound filmmaking, as well as contemporary discussions of rhythm, tempo, and pacing. Jacobs looks at the rhythmic dimensions of performance and sound in a diverse set of case studies: the Eisenstein-Prokofiev collaboration Ivan the Terrible, Disney’s Silly Symphonies and early Mickey Mouse cartoons, musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks’s films. Jacobs argues that the new range of sound technologies made possible a much tighter synchronization of music, speech, and movement than had been the norm with the live accompaniment of silent films. Filmmakers in the early years of the transition to sound experimented with different technical means of achieving synchronization and employed a variety of formal strategies for creating rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm and pacing, as was the case in mickey mousing, the close integration of music and movement in animation. However, by the mid-1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs’s highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies.

The Cambridge Companion to Film Music
The Cambridge Companion to Film Music

Author: Mervyn Cooke

Publisher: Cambridge University Press

Published: 2016-12-08

Total Pages: 439

ISBN-13: 1107094518

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A stimulating and unusually wide-ranging collection of essays overviewing ways in which music functions in film soundtracks.

Producing Great Sound for Film and Video
Producing Great Sound for Film and Video

Author: Jay Rose

Publisher: CRC Press

Published: 2015

Total Pages: 453

ISBN-13: 113606110X

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"Make your film and video projects sound as good as they look with this popular guide. Learn practical, timesaving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! In this fourth edition of Producing Great Sound for Film and Video, audio guru Jay Rose revises his popular text for a new generation of filmmakers. You'll find real world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair and processing, and mixing. The combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade. This new edition includes: - Insights and from-the-trenches tips from film and video professionals - Advice on how to get the best results from new equipment including DSLRs and digital recorders - Downloadable diagnostics and audio examples you can edit on your own computer - Instruction for dealing with new regulations for wireless mics and broadcast loudness - Techniques that work with any software or hardware - An expanded "How Do I Fix This?" section to help you solve problems quickly - An all new companion website (www.GreatSound.info) with audio and video tutorial files, demonstrations, and diagnostics Whether you're an aspiring filmmaker who wants rich soundtracks that entertain and move an audience, or an experienced professional looking for a reference guide, Producing Great Sound for Film and Video, Fourth Edition has the information you need"--

Location and Postproduction Sound for Low-Budget Filmmakers
Location and Postproduction Sound for Low-Budget Filmmakers

Author: Michael Tierno

Publisher: Routledge

Published: 2020-05-19

Total Pages: 346

ISBN-13: 1000060691

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This book covers everything you need to know to master the fundamentals of location sound recording and postproduction sound in a comprehensive one-stop guide. This user-friendly book provides real world situations to analyze the many kinds of location recording configurations and postproduction scenarios and offers easy-to-adopt, budget-conscious solutions to some of the most common issues that arise when working with sound. Chapters cover the theory of sound, preproduction with a sound emphasis, microphone selection, testing equipment, how to boom and mix on set, synchronization and time code, and editing sound while doing a picture cut in a traditional picture software platform. Additionally, the book discusses bringing a project into a Digital Audio Workstation and explores basic sound design, dialogue editing, Automated Dialogue Replacement, Foley, sound effects, music for film, re-recording the final mix, and outputting sound to finish a project. Accompanying examples allow readers the opportunity to try out the various techniques and drills on location, in postproduction, or both. Aimed at students, early career and independent filmmakers, as well as those considering a vocation in location and postproduction sound, Location and Postproduction Sound for Low-Budget Filmmakers makes achieving great sound attainable for all, and is an invaluable tool for anyone wanting to better understand the art of film sound.