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Full Description
This classic anthology provides essential models for analyzing sound stylistics through the detailed study of critical sound films. Elisabeth Weis and John Belton carefully curate major essays from the world's most respected film historians, aestheticians, and theorists, including Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, Rene Clair, Bela Belazs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noel Burch, and Arthur Knight. Their selections recount the innovations and triumphs of Ernst Lubitsch, Fritz Lang, Orson Welles, Alfred Hitchcock, Rouben Mamoulian, Dziga Vertov, Robert Bresson, Jean-Luc Godard, Robert Altman, and Francis Ford Coppola, among many others, and explicate the techniques and practices of sound filmmaking from initial recordings to final theater playback. Film Sound is the ideal companion for anyone seeking both a comprehensive introduction to the form and a rich survey of its historical and global evolution.
Contents
Part 1. 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 Rene Clair Manifesto: Dialogue on Sound, by Basil Wright and B. Vivian Braun Sound in Films, by Alberto Cavalcanti A New Laocoon: 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 Daniele 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 Noel Burch Section 2: Pioneers The Movies Learn to Talk: Ernst Lubitsch, Rene 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 Noel Carroll The Voice of Silence: Sound Style in John Stahl's Back Street, by Martin Rubin Section 3: Stylists Orson Welle's 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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