Sound Theory, Sound Practice

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Psychology Press, 1992 - Performing Arts - 291 pages
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Sound Theory/Sound Practice is divided into three major sections: Theoretical Perspectives, Historical Speculations, and Neglected Domains. The entire volume is marked by a revised understanding of cinema and particularly film sound. Individual essays cover such diverse topics as the conversion to sound, cartoon sound, documentary sound, and voices of women in third-world cinema. This collection combines unpublished articles by established scholars who first attracted academic attention to cinema sound - Altman, John Belton, Michel Chion, and Alan Williams - with work written by a new generation of sound-sensitive scholars. Dramatically broadening the previous field of research on sound, Sound Theory/Sound Practice promises to renew the debate over the importance of sound to cinema, from a theoretical as well as a historical perspective.
 

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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
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