DOCSLIB.ORG

Collaboration and Integration

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Collaboration and Integration CORE Metadata, citation and similar papers at core.ac.uk Provided by Bournemouth University Research Online COLLABORATION AND INTEGRATION: A Method of Advancing Film Sound Based on The Coen Brothers’ Use of Sound and Their Mode of Production Two volumes: volume 2 Randall Barnes A thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy November 2005 Volume 2 Title page 290 Contents page 291 Appendices: A: The Nature of Sound and page 293 Its Unique Impact on Filmmaking Sound’s General Influence on the Narrative Film Sound: MUSIC Film Sound: NOISE and AMBIENT EFFECTS Film Sound: THE VOICE B: The Historical Development of Sound page 328 Technology and its Impact on Filmmaking Practices and Styles Early Developments in the History of Sound Recording and Reproduction The Origins of Competition Sound Film and the Part-Talkie The First All-Talkies: Difficulties and Improvements Reinventing Film Forms and Foreign Markets Standardisation and New Technology Early Unconventional Uses of Sound: European and American Creative Fidelity: KING KONG and CITIZEN KANE The Historical Development of Magnetic Sound Magnetic Sound Film Formats Stylistic Uses of Music Post-WWII to 1959 Sound Effects Stylists Post-WWII to 1959 The first big wave in stylised sound: Films and filmmakers from 1960-1971 Hitchcock’s horror and other sonic chillers Foregrounding Film Sound as an Artistic Expression: Jean-Luc Godard The Re-contextualisation of Music: Stanley Kubrick The Dolby Sound Revolution Sound Gains Recognition: The Work of Walter Murch, Ben Burtt and Alan Splet 291 C: The Coen’s Use of Sound: Main Themes page 443 Narrative Echoes: the Use of Aural Repetition Hyperreal Worlds: Sound and Setting D: Interview Transcripts page 462 Interviews with Skip Lievsay Interview with Carter Burwell Interview with Larry Sider Interview with Bob Last E: Personal Emails page 548 Emails from Skip Lievsay Emails from Carter Burwell Email from Ren Klyce Emails from Randy Thom Emails from Larry Sider F: Sound Interpretations of Non-Coen Brothers’ page 558 films: Earlier Papers by the Author Reality Stretching: The Use of Sound in David Lynch’s ERASERHEAD He’d Kill Us If He Got the Chance G: Film Clip Index page 571 Film Clip Examples (CD appendix F) Inside back cover List of References page 573 Bibliography page 589 Filmography and Television References page 625 292 APPENDIX A The Nature of Sound and Its Unique Impact on Filmmaking This section highlights the various roles music, effects and dialogue play in filmed narratives. All of these elements are examined from a conceptual and practical perspective. The areas of discussion include the following: 1. A discussion of the unique qualities of sound that set it apart from image. 2. A review of the functions of aural ingredients and an exploration of their wider applications, especially in terms of how they can be used as story-telling devices. 3. The theoretical underpinnings that help define how each element of sound has been used independently and collectively in the filmmaking process. All of these items will then be applied in the interpretations of the work of the Coen brothers in next part of the paper. Our minds treat what we hear differently from what we see. Fundamentally, sound cannot be shut out of the ear (unless by artificial means) but images can be denied by closing our eyes. We can hear from all directions simultaneously, whereas our sight is defined to a restricted visual field. Our vision is limited to a narrow band of the electromagnetic spectrum. In contrast, our hearing has a broad range of perception because of our sensitivity to a great number of frequencies. We cannot distinguish the different elements in a mixture of light, but we can differentiate between 293 separate notes within a chord. Importantly, sound can present our minds with coded information (language) or un-coded information (noises) that we must interpret: a creaking door, the sound of waves or a gunshot, especially if the source of those sounds is not within our field of vision. The source of the information generates and reinforces associations and emotions in our minds. However when the source is obscured or it is ambiguous, we then seek an explanation for that sound or try to construct an aural object to form an approximate association. The assembly of visual data also functions in this way. Unlike the process for sound, however, there is usually no delay in identifying the object unless the image is blurred, moves too quickly or is at an extreme distance. Film audiences use the same tools of sensory perception with the given elements of the fictitious film world, regardless of their correspondence to the actual world. Their minds make the same interpretations of the aural and visual content and the same approximations with ambiguous ingredients as it happens in everyday life. Confirmation of this comes in one of the earliest public exhibitions of film, when the audience feared the impact of an on- coming train. Since then cinemagoers have become more sophisticated, but they still accept the plausibility of the illusion on the screen through the suspension of disbelief. Similarly, filmmakers have grown in sophistication in perfecting the illusion. As noted previously, this was predominantly achieved through the visual elements of the narrative. Exploiting the wider dimensions of aural perception was rarely employed. Perhaps this relates to the elusive nature of sound itself. Sound is abstract. It contains no meaning in and of itself. It gains an identity through the mental associations we as listeners make, regardless of whether the source is known or not. A sound, therefore, maintains relative 294 independence until it is married to a visual object. It is then that we relate one with the other. In other words: “there is no natural and pre-existing harmony between sound and image” (Chion 1994, p.xvii). Repetitions reinforce and expand our associations. As listeners hear a wider range of sounds, they develop a broader ‘menu’ of corresponding sound-images. Throughout our listening lives, we do not constantly reassess sound input. However, we fine-tune our perceptions of the variations of individual sounds and we make allowances for new discoveries. As we develop and add to this ‘menu,’ sounds may take on additional meanings by attaching themselves to memories, especially those with emotional significance. While we may try to categorise every sound we hear, there will always be those that remain unknown or ambiguous. A film, in its attempt to represent a plausible reality, is forged through the amalgamation of specific sounds and images. In other words, a film is not seen and heard, it is heard/seen, that is, despite the distinction between the two elements, they are not considered separate by the filmgoer. They are experienced in the same way they would be experienced in the real world. Thus when sounds are joined to images in a given film world, audiences are asked to interpret them through the aforementioned process of association. This fundamental infusion of sound and image is what Chion (1994, p.63) called synchresis: the combination of the words synchronism and synthesis. The acceptance of this synchresis forms the crux of Chion’s film sound theory: the ‘Audio-visual contract’. He defines this symbolic pact as the agreement of cinemagoers when they consider the two elements to be participating in one and the same entity or world (ibid., p.222). The custom in Hollywood has been to highlight the most familiar correlations. Therefore, by producing ‘what-you-see-is-what-you-get’ films, they have ignored the fact that filmmaking offers the advantage (over reality) of separating sound 295 and vision completely. The ability to divide these two elements provides filmmakers with the opportunity to add a further dimension of meaning to their narratives. Above all, it allows them the prospect of manipulating the audience’s sound-image expectations. For example, ‘normal’ interpretations could be challenged through the use of ambiguous or less familiar sound- images. Regardless of whether this is a subtle or obvious gesture, the non- synchronous use of film sound can help signify something beyond the image. Implicit in the nature of film is the fact that the screen does not hinder the emission of sounds. Unlike images, which are confined to a specific rectangular viewing area, aural ingredients can represent objects both within and outside the screen. Containment again only manifests itself when filmmakers marry sound and image. This use of aural ingredients is called synchronous or onscreen sound and it identifies objects or actions whose source appears within the shot to reinforce the concrete ‘reality’ of the film world. The opposite, called offscreen sound, distinguishes any sonic element whose source is not revealed within the confines of the rectangular space. Though emitting from a point beyond the screen, it is perceived to be coming from within the shot. It occurs through our natural ability to adjust our spatial awareness to the most plausible source; a psychological phenomenon called localisation. With the advent of Dolby surround and subsequent developments, this use of sound has been become more commonplace. Though reasonable, these distinctions assign to aural ingredients a role subservient to that of the image. Bordwell and Thompson (2004 [originally published in 1979) expanded the notions of onscreen and offscreen with the terminology, borrowed from textual analysis, that reflects film sound’s unique qualities more effectively. They introduced diegetic and nondiegetic sound, which define sound’s temporal relationship to the diegesis of the narrative. 296 For Bordwell and Thompson (p.331), diegetic describes a sound that is either “visible within the frame – onscreen” (e.g.
Load more

Recommended publications
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, ccarney@lsu.edu Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please contactgradetd@lsu.edu. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • The Use of Music in the Cinematic Experience
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, sarah.schulte888@topper.wku.edu Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact topscholar@wku.edu. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance.
    [Show full text]
  • The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
    The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • Dean Tavoularis
    DEAN TAVOULARIS Né aux États-Unis Il vit et travaille à Paris. Directeur artistique de films et artiste- peintre, il compte plus de 50 ans de carrière aux côtés de metteurs en scène de légende … Arthur Penn, Michelangelo Antonioni, Wim Wenders, Francis Ford on les nomme à Hollywood –, ils ont Coppola, Roman Polanski. posé les jalons d’un corps essentiel du cinéma : donner une matière aux visions L’artiste, né en 1932 à Lowell dans le d’un cinéaste. Parmi leurs successeurs, Massachusetts, de parents grecs originaires Dean Tavoularis s’est imposé comme du Péloponnèse, arrive à l’âge de 4 ans à le plus précieux, précis et inventif. Son Long Beach en Californie. regard sidérant n’est pas étranger à la Son père travaille dans la compagnie de réussite de Coppola : nous lui devons café familiale. Son environnement familial les salons opaques du Parrain, les néons encourage les goûts du jeune Dean pour le luminescents de Coup de cœur, la folie dessin et les beaux-arts et à 17 ans il intègre sauvage du labyrinthe où les personnages une des premières Film School des Etats- d’Apocalypse Now s’égarent – ainsi que les Unis et rejoint les studios Disney, qui font costumes des bunnies Playboy. Sa vision ne véritablement office d’école de cinéma. En se limite pas à son domaine, elle englobe parallèle il suit des cours d’architecture, de le projet dans sa totalité. » écrit Léonard dessin et d’art. Son apprentissage au sein Bloom dans un article de Numéro consacré des studios Disney lui permet de mettre à Dean Tavoularis (avril 2019).
    [Show full text]
  • The Language of Emotion in Godard's Films Anuja Madan (Cineaction 80
    The Language of Emotion in Godard's Films Anuja Madan (Cineaction 80 2010) So, to the question ʻWhat is Cinema?ʼ, I would reply: the expression of lofty sentiments. —Godard, in an essay 1 Nana: Isnʼt love the only truth?2 Emotion in the New Wave films is a fraught concept. Critics like Raymond Durgnat have commented that the New Wave films are characterized by emotional “dryness,” but such a view fails to engage with the complexity of the films.3 In what may seem like a paradoxical statement, these films display a passionate concern for the status of emotional life while being simultaneously engaged in the critique of emotion. This paper seeks to discuss the complex dynamics of emotion in three of Jean-Luc Godardʼs films—Vivre Sa Vie (My Life to Live, 1962), Alphaville, une Étrange aventure de Lemmy Caution (Alphaville, A Strange Adventure of Lemmy Caution, 1965) and Week End (1967). All of them belong to the fertile period of the 60s in which Godardʼs aesthetic strategies became increasingly daring. These will be examined in relation to some of his critical writings. An important paradigm within which Godardʼs films will be analyzed is that of cinemaʼs relationship to reality. A foundational principle of the New Wave was the faith in the intrinsic realism of the cinema, something Bazin had expounded upon. However, according to Godard, Bazinʼs model of cinema was novelistic, the realist description of relationships existent elsewhere. In his model, the director constructs his film, dialogue, and mise-en- scene, at every point: Reality is formed as the camera is framing it.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • 10700990.Pdf
    The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
    [Show full text]
  • Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: research-pubs@uow.edu.au Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction
    [Show full text]
  • Sound: Eine Arbeitsbibliographie 2003
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]