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Film Sound: Theory and PracticeFrom Columbia University Press
Free PDF Film Sound: Theory and PracticeFrom Columbia University Press
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-- Film Quarterly
- Sales Rank: #664847 in Books
- Published on: 1985-04-15
- Released on: 1985-09-05
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.08" w x 5.75" l, 1.37 pounds
- Binding: Paperback
- 462 pages
Review
An extremely useful and wide-ranging collection of essays devoted to a topic often ignored or taken for granted by visually-dominated studies of the moving picture...
(Gerald Mast, University of Chicago)Both comprehensive in its choice of readings and creative in its editorial approach... Film Sound, as well as being an eminent introduction to the writings in the field, forcefully demonstrates the need for the study of the media to be both textually and institutionally grounded, and both theoretically and historically informed.
(Richard Allen Framework)Indispensable... [a] superb collection of essays.... An important contribution to our literature on film theory and practice and... necessary reading for anyone interested in the art and the practice of filmmaking.
(Journal of Popular Film and Television)Film Sound is a pleasure to read. In addition, the book's general organization and range of selections present an accurate summary of the development of film sound and attitudes toward it from the late twenties to the eighties. For anyone interested in finding ways out of the present theoretical confusion, Film Sound is an excellent place to start.
(Film Quarterly)Convincingly suggests that an exciting new field has been opened up, one that may well come to determine the way we look at the cinema as a whole.... [Film Sound] pays attention to the new technologies as they affect not only the cinema but also how we come to view its history.
(Sight and Sound) From the Back Cover
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.
About the Author
Elisabeth Weis is professor of film at Brooklyn College and the Graduate Center of the City University of New York and executive director of the National Society of Film Critics. She has written or edited books on sound, comedy, and star acting. John Belton is professor of English and film at Rutgers University and the author of five books, including Widescreen Cinema, winner of the Kraszna-Krausz prize for books on the moving image, and American Cinema/American Culture, a textbook accompanying the PBS series American Cinema. He has also edited three books, including Alfred Hitchcock's Rear Window, and is associate editor of the journal Film History.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Ear-opening
By T. Nicholas
I got this book because after 4 years of film school, I still felt as if I had been shortchanged when it came to learning sound design. I had been taught how to record and edit sound, been taught how to do ADR, been taught all the different types of microphones; but I still didn't know WHY to use one type of microphone over another, WHY using an omnidirectional, or a shotgun, or a lavalier mic would change the feel of a scene (and how this would in turn change depending on whether that sound was being matched with a closeup or a long shot). In short, I was never taught the aesthetic significance behind any of the options I was presented with. My formal education on the topic had been entirely technical. As the editors make clear in the preface to this anthology, it was their attempt to compile a book "addressed to aestheticians rather than technicians." At this they've done an incredible job.
The scope is broad - covering theory, practice, history, as well as the technological side - different essays focusing on individual films, directors, genres, historical periods or the medium as a whole. The viewpoints of the authors are also as diverse as anything you'll find in film studies generally, ranging from Marxist, formalist and psychoanalytic analysis to more straightforward historical or technical writing.
As a filmmaker, this book has been eye opening (or should I say ear opening?). For the first time I am finally able to think about sound design in the same way that I think about any other element of a film. Since starting to read the book, I've paid more attention to the sound design in all of the films I've watched.
This book was written in 1985. No doubt does this mean that innovations in the field since 1985 (most notably the dawn of digital editing and sound mixing) are left out from the book. But even so, if you are a filmmaker who is looking to gain some insight into what film sound is all about, this is an excellent place to start.
10 of 20 people found the following review helpful.
Table of Contents
By Curupira
Part I. History, Technology, and Aesthetics
Introduction
The Coming of Sound: Technological Change in the American Film Industry, by Douglas Gomery
Economic Struggle and Hollywood Imperialism: Europe Converts to Sound, by Douglas Gomery
Film Style and Technology in the Thirties: Sound, by Barry Salt
The Evolution of Sound Technology, by Rick Altman
Ideology and the Practice of Sound Editing and Mixing, by Mary Ann Doane
Technology and Aesthetics of Film Sound, by John Belton
Part II: Theory
Section 1: Classical Sound Theory
A Statement, by S. M. Eisenstein, V. I. Pudovkin, and G. V. Alexandrov
Asynchronism as a Principle of Sound Film, by V. I. Pudovkin
The Art of Sound, by René Clair
Manifesto: Dialogue on Sound, by Basil Wright and B. Vivian Braun
Sound in Films, by Alberto Cavalcanti
A New Laocoön: Artistic Composites and the Talking Film, by Rudolph Arnheim
Theory of Film: Sound, by Bela Balazs
Dialogue and Sound, by Siegfried Kracauer
Slow-Motion Sound, by Jean Epstein
Section 2: Modern Sound Theory
Notes on Sound, by Robert Bresson
Direct Sound: An Interview with, by Jean-Marie Straub and Danièle Huillet
Aural Objects, by Christian Metz
The Voice in the Cinema: The Articulation of Body and Space, by Mary Ann Doane
Part III: Practice
Section I: Practice and Methodology
Fundamental Aesthetics of Sound in the Cinema, by David Bordwell and Kristin Thompson
On the Structural Use of Sound, by Noël Burch
Section 2: Pioneers
The Movies Learn to Talk: Ernst Lubitsch, René Clair, and Rouben Mamoulian, by Arthur Knight
American Sound Films, 1926-1930,, by Ron Mottram
Applause: The Visual and Acoustic Landscape, by Lucy Fischer
Enthusiasm: From Kino-Eye to Radio Eye, by Lucy Fischer
Lang and Pabst: Paradigms for Early Sound Practice, by Noël Carroll
The Voice of Silence: Sound Style in John Stahl's Back Street, by Martin Rubin
Section 3: Stylists
Orson Welles' Use of Sound, by Penny Mintz
The Evolution of Hitchcock's Aural Style and Sound in The Birds, by Elisabeth Weis
The Sound Track of The Rules of the Game, by Michael Litle
Sound in Bresson's Mouchette, by Lindley Hanlon
Godard's Use of Sound, by Alan Williams
Section 4: Contemporary Innovators
Altman, Dolby, and the Second Sound Revolution, by Charles Schreger
Sound Mixing and Apocalypse Now: An Interview with Walter Murch, by Frank Paine
The Sound Designer, by Marc Mancini
Sound and Silence in Narrative and Nonnarrative Cinema, by Fred Camper
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