Seminar paper from the year 2007 in the subject Communications - Movies and Television, grade: 1.0, Technical University of Berlin, course: Audiovisuelle Wahrnehmung. Phänomene in der Medienrezeption, language: English, abstract: In the process of filmmaking, sound design is an relatively young creative discipline, compared with applying sound design in theatre. That has perhaps impacted the fact that the responsibilities and duties of the acoustic professionals, who are working as a sound designers on film, are still not precise determinated. Nevertheless the revolution of sound design happened exactly on the film. As a result, the film industry has devoted many of its resources to develop techniques for producing sound effects and ambience sounds that evoke emotional responses and allow the viewer to be immersed.
Sound for Film and Television, Third Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science. This new edition has been completely updated to reflect the latest advances in HD technology, new hardware and software systems, new distribution methods, wireless sound capture, and more. Also, analog-related content has been reduced and transferred to the chapters covering historical techniques. Sections on troubleshooting and FAQs have been added to help you avoid common pitfalls in sound production. Written by one of Hollywood's leading sound experts, Sound for Film and Television provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstrating how they affect the day-to-day activities on a film or television set, in the editing room, and in the mix room. The accompanying audio DVD contains more than 50 tracks that demonstrate practical, real-world examples of key concepts presented in the book. A companion Web site provides further resources and information: http://booksite.focalpress.com/companion/Holman/SoundforFilmandTelevision/ Please use the access code located in the beginning of the book to register for access to the Web site.
Sound Design Theory and Practice is a comprehensive and accessible guide to the concepts which underpin the creative decisions that inform the creation of sound design. A fundamental problem facing anyone wishing to practice, study, teach or research about sound is the lack of a theoretical language to describe the way sound is used and a comprehensive and rigorous overarching framework that describes all forms of sound. With the recent growth of interest in sound studies, there is an urgent need to provide scholarly resources that can be used to inform both the practice and analysis of sound. Using a range of examples from classic and contemporary cinema, television and games this book provides a thorough theoretical foundation for the artistic practice of sound design, which is too frequently seen as a ‘technical’ or secondary part of the production process. Engaging with practices in film, television and other digital media, Sound Design Theory and Practice provides a set of tools for systematic analysis of sound for both practitioners and scholars.
Sound is all around. In movies. On TV. On the radio. Now the idea that sound can be an artistic medium in its own right is shaking the art world. Written by an authority in the field, The Fundamentals of Sonic Arts and Sound Design describes and begins the process of defining this entirely new subject. Topics covered include new and radical approaches to sound recording, performance, installation works and exhibitions, plus visits with sonic artists and sound designers. Designed for students, yet packed with exciting examples of the principles and practice of this new art form, this book is on the cutting edge where technology and art meet.
Inhaltsangabe:Abstract: In this master thesis the author explores the development of sound design from beginning of sound film until now. The paper explains the vocabulary of sound techniques, standards and devices. It describes sound design in Hollywood films by outstanding examples from prominent sound designers. The thesis links the achievement of the sound designers to the state of the art. The study depicts the interaction between technical possibilities and high demands of audiences. It gives insight into film sound history, explains the production process of film sound in detail and defines the work of a sound designer. Furthermore it contributes to the ongoing academic discussion of film sound, which was coined by researchers such as Chion, Flueckiger, Sonnenschein and Whittington. The author thoroughly analyzes key scenes by successful sound designers and illustrates with the use of examples such as King Kong (1933), Once Upon a Time in the West (1969), Terminator 2 (1991), Saving Private Ryan (1998), and King Kong (2005) amongst many others, the technical and aesthetical progress of sound design and its influence on contemporary Hollywood films. Inhaltsverzeichnis:Table of Contents: Abstract4 1.Introduction6 1.1.The Structure of This Report8 1.2.Research Method and Sources10 2.Sound Design for Film12 2.1.The Three Pillars of a Soundtrack12 2.2.Music13 2.2.1.The Leitmotif15 2.3.Dialogue19 2.4.SOUND Backgrounds, Noise and Sound Effects20 2.4.1.Backgrounds21 2.4.2.Noise21 2.4.3.Sound Effects Sound FX22 2.5.The Work of Sound Designers, Sound Editors and Film Makers22 2.6.Summary23 2.7.Sound Design Definition24 3.A Short History of Film Sound29 3.1.Early Film Sound29 3.2.Talkies - The First Movies with Dialogue30 3.3.Widescreen and Surround Sound vs. Television at Home32 3.4.The First Sound Designers33 3.5.The Digital Age - A new Era?37 4.The Production Steps39 4.1.Pre-production39 4.2.Production41 4.3.Post-Production42 4.4.Technical Developments and Their Impact45 5.The Power of Sound47 5.1.The Use of Sound as a Stylistic Tool47 5.2.How do we perceive Sound and Images?51 5.3.Silence52 5.3.1.a) Silence as symbol for death:55 5.3.2.b) Awkward feelings, unsolved conflicts, embarrassment56 5.3.3.c) Circus effect56 5.3.4.d) In connection with disorientation mainly for showdown59 5.3.5.Summary59 5.4.Counterpoint, Asynchronous Sound61 5.5.Synchresis64 5.6.Added value66 5.7.Diegetic and Non-diegetic [...]
This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed. The running theme of the book is the disintegration of boundaries, which permeates discussions about industry, labour, technology, aesthetics and audiovisual spectatorship. The collaborative nature of screen media is addressed not only in scholarly chapters but also through interviews with key practitioners that include sound recordists, sound designers, composers, orchestrators and music supervisors who honed their skills on films, TV programmes, video games, commercials and music videos.
As film students and younger fans experience "Big Hollywood Sound" in Imax presentations and digital theaters, many are also discovering action and adventure movies made well before they were born. There is a legacy to be enjoyed in the sound of these films: Blockbuster movies of the ‘80’s, and ‘90’s are notable for the extraordinarily dramatic impact of their sound mixing, and the way in which it could immerse audiences in a surrounding space. During this period, a small group of sound professionals in Hollywood wrote and published a critical journal about the craftsmanship, new technology, and changing aesthetics that excited conversation in their community. Their work has been edited and compiled here for the first time. David Stone is a sound editor, a veteran of roughly 100 Hollywood feature films, such as Gremlins, Top Gun, Die Hard, Speed, and Ocean’s 11. He was a Supervising Sound Editor for projects as varied as Predator, Edward Scissorhands, Beauty and the Beast, Batman Returns, City Slickers 2, and Dolores Claiborne. He has collected Golden Reel awards for Best Sound Editing five times, and won the 1992 Academy Award® for best Sound Effects Editing, for his supervising work on Bram Stoker’s Dracula. In 2015, he received a Lifetime Achievement Award from the San Luis Obispo Jewish Film Festival in California. Stone is now a Professor and former Chair of Sound Design at Savannah College of Art and Design. Between 1989 and 1994, he was the editor of Moviesound Newsletter, which was published by Vanessa Ament. Dr. Vanessa Theme Ament is the author of The Foley Grail, and a contributor to Sound: Dialogue, Music, and Effects (the Silver Screen Series). She is on the steering committee for Cinesonika, an international film festival and conference. A veteran Foley artist, sound editor, and voice actor from Los Angeles, she also writes and sings jazz, and is a member of the American Federation of Musicians, SAG-AFTRA, Actors Equity, and the Editors Guild. She worked on Die Hard, sex, lies, and videotape, Platoon, Predator, Edward Scissorhands, Beauty and the Beast, Noises Off, and A Goofy Movie, and many other films. Dr. Ament received her Ph.D. in Communication, in the area of Moving Image Studies, from Georgia State University in Atlanta, and is presently the Edmund F. and Virginia B. Ball Endowed Chair Professor of Telecommunications, at Ball State University in Muncie, Indiana.
This handbook provides powerful ways to understand changes in the current media landscape. Media forms and genres are proliferating as never before, from movies, computer games and iPods to video games and wireless phones. This essay collection by recognized scholars, practitioners and non-academic writers opens discussion in exciting new directions.
Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design. This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.
This volume provides a comprehensive introduction to foundational topics in sound design for embedded media, such as physical computing; interaction design; auditory displays and data sonification; speech synthesis; wearables; smart objects and instruments; user experience; toys and playful tangible objects; and the new sensibilities entailed in expanding the concept of sound design to encompass the totality of our surroundings. The reader will gain a broad understanding of the key concepts and practices that define sound design for its use in computational products and design. The chapters are written by international authors from diverse backgrounds who provide multidisciplinary perspectives on sound in its many embedded forms. The volume is designed as a textbook for students and teachers, as a handbook for researchers in sound, programming and design, and as a survey of key trends and ideas for practitioners interested in exploring the boundaries of their profession.
Doing Research in Sound Design gathers chapters on the wide range of research methodologies used in sound design. Editor Michael Filimowicz and a diverse group of contributors provide an overview of cross-disciplinary inquiry into sound design that transcends discursive and practical divides. The book covers Qualitative, Quantitative and Mixed Methods inquiry. For those new to sound design research, each chapter covers specific research methods that can be utilized directly in order to begin to integrate the methodology into their practice. More experienced researchers will find the scope of topics comprehensive and rich in ideas for new lines of inquiry. Students and teachers in sound design graduate programs, industry-based R&D experts and audio professionals will find the volume to be a useful guide in developing their skills of inquiry into sound design for any particular application area.
