Sound Theory, Sound Practice

Front Cover
Rick Altman
Psychology Press, 1992 - Performing Arts - 291 pages
Cinema as event - The material heterogeneity of recorded sound - Four and a half film fallacies - Sound space - Reading, writing and representing sound - She sang live, but the microphone was turned off: the live, the recorded, and the subject of representation - Sound/history - Historical and theoretical issues in the coming of recorded sound to the cinema - Translating America: the Hollywood multilinguals 1929-1933 - 1950s magnetic sound - Sound's dark corners - Women's voices in the Third World cinema - The sound of early Warner Bros. cartoons - Imagining the sound(s) of Shakespeare: film sound and adaptation - Conventions of sound in documentary - And then there was sound: the films of Andrei Tarkovsky - A baker's dozen of new terms for sound analysis.
 

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Contents

Cinema as Event
1
The Material Heterogeneity of Recorded Sound
15
Four and a Half Film Fallacies
35
Sound Space
46
Reading Writing and Representing Sound
65
The Live
87
Wasted Words
104
SoundHistory
113
Womens Voices in Third World Cinema
178
The Sound of Early Warner Bros Cartoons
191
Film Sound
204
Conventions of Sound in Documentary
217
The Films of Andrei Tarkovsky
235
Rick Altman
249
Notes
255
Works Cited
271

The Hollywood Multilinguals 19291933
138
The Frozen Revolution
154
Sounds Dark Corners
171
Index
283
List of Contributors
291
Copyright

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