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Toronto's Postproduction Sound Industry, 1968 to 2005

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Toronto's Postproduction Sound Industry, 1968 to 2005 Wilfrid Laurier University Scholars Commons @ Laurier Theses and Dissertations (Comprehensive) 2016 The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005 Katherine E. Quanz Wilfrid Laurier University, [email protected] Follow this and additional works at: https://scholars.wlu.ca/etd Part of the Audio Arts and Acoustics Commons, Canadian History Commons, and the Film and Media Studies Commons Recommended Citation Quanz, Katherine E., "The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005" (2016). Theses and Dissertations (Comprehensive). 1866. https://scholars.wlu.ca/etd/1866 This Dissertation is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Theses and Dissertations (Comprehensive) by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005 by Katherine Elizabeth Quanz B.F.A., in Film and Video Production, York University, 2005 M.A., in English and Film Studies, Wilfrid Laurier University, 2008 THESIS Submitted to the Department of English and Film Studies in partial fulfillment of the requirements for Doctor of Philosophy Wilfrid Laurier University © 2016 Abstract This dissertation examines how economic and technological changes shaped the sounds of Canadian cinema, from the modern industry’s founding in the late 1960s to the widespread adoption of digital editing software in the early 2000s. By focusing on the labour and craft practices that coalesced in Toronto’s postproduction companies, I argue that such practices engendered a critical shift in the sonic style of Canadian film sound. Whereas fiction films initially featured a sonic style developed by the National Film Board of Canada for documentary production, filmmakers eventually adopted a style strongly identified with Hollywood cinema. Although it is tempting to explain this shift by appealing to generalized statements about the globalization of Hollywood cinema, I reveal a more complex picture in which a host of historical forces, including government policies, industrial competition, and discursive practices among craftspeople, are seen to shape how new sound technologies were used and how the adoption of these technologies did, or did not, affect the aesthetic of Canadian film sound. In order to narrow the focus of this dissertation, my case studies draw on films from the genres of horror and science fiction. Chapter One posits my methodology, which combines theories of film history with formal soundtrack analyses. I explain that unlike many histories of sound that trace how directors use sound as a storytelling tool, my dissertation traces the history of craft techniques among below-the-line labour and in a non-Hollywood industry centered in a single urban locale (Toronto). The remaining chapters are divided into three chronological periods. Chapter Two (1968 to 1986) outlines the founding of the narrative film industry and how sound workers in Toronto appropriated NFB documentary practices. In Chapter Three (1981 to 1989) I argue that the introduction of Dolby Stereo had minimal impact on Toronto soundtracks. Finally, in Chapter Four (1988 to 2003), I contend that the increase of digital audio workstations (DAWs) altered the value of sound labour within the industry. In order to protect their jobs, Toronto sound professionals changed their craft techniques to mirror those used in Hollywood. In these ways, each chapter reveals the various mechanisms (e.g., socioeconomic, political, industrial) that shaped the dominant sound style of each era. Thus, although the dissertation’s chapter breakdown is determined by major technological changes, it ultimately demonstrates that it is not technology alone that leads to style change; rather, such changes can be accounted for by a complex intersection of historical forces at any given period of Canadian film history. Put conversely, the history of Canadian cinema can be detected in its soundtracks. ii Acknowledgements When I began this project I did not know what constituted a film history and much less how to write one. But Katherine Spring bravely took me on as her student and through her direction I learned the skills that I needed to complete this dissertation. She has devoted countless hours to providing counsel and feedback on the many chapter drafts. I will be forever grateful for her guidance through this project and for her pushing me to grow as a scholar. My committee members, Rick Altman, Philippa Gates, and Peter Urquhart all provided astute comments on drafts, as well as encouragement over the years. Each one urged me to refine different portions of this dissertation. Thanks is also owed to Charles O’Brien for serving as my external member and for asking stimulating questions during my defense. I would also like to thank Paul Tiessen, Ute Lischke, Madelaine Hron, Lynn Shakinovsky, Russell Kilbourn, Tomas Dobozy, Andrea Austin, Eleanor Ty, Tanis MacDonald, and Corinn Columpar for directing my scholarly development during my coursework. Ute Lischke and Madelaine Hron have gone above and beyond by providing consistent encouragement and wisdom. Zoë Druick and Jeff Smith have both taken the time to talk to me about my work at conferences and provide useful advice. Mike Zryd, Philip Hoffman, and Janine Marchessault from York University have also continued to inspire my work and offer friendly words at conferences. The staff at the TIFF Film Reference Library have been an incredible source of knowledge and support during my research there. They have accommodated numerous research trips and helped me find hidden gems in the archive. Special thanks to Rachel Beattie, Jason Cheong, Alicia Fletcher, Alannah Fotheringham, Sylvia Frank, Eve Goldin, Chelsea Jeffery, Michelle Lovegrove Thomson, Kristen MacDonald, Samantha Tator, and Sagan Yee for never complaining when I asked for more files! Thanks also to the librarian at the Library of Parliament for providing a copy of the Firestone Report. Not only did she go above and beyond by making a copy of the report for me, she delivered it to my parents so that I would receive it in a timely manner. Sadly, I do not know her name, but I am nevertheless thankful for her help. I am also grateful to the members of the Toronto postproduction sound community who taught me so much during my time as an assistant sound editor. In particular, I would like to thank Martin Gwynn Jones, Steve Munro, Jane Tattersall, and Peter Gibson for providing me with useful information and documents. This project would not have been possible without the support of external funding. The Social Science and Humanities Research Council of Canada Joseph-Armand Bombardier CGS Doctoral Scholarship provided the resources for me to begin my archival exploration. The Jeffrey & Sandra Lyons Canadian Film Scholarship at TIFF enabled me to spend five glorious weeks at the TIFF Film Reference Library fully emerged in my research. Thank you to Theresa Scandiffio, Jessica Lam, Keith Bennie, and the library staff for facilitating the award. Finally, the department of English and Film Studies’ Jane Campbell Graduate Award delivered much needed financial assistance in my final year. This dissertation has benefited from the inspiration and feedback that I have received at conferences. First, I would like to thank the numerous participants of the Film & History Sound Area when Eric Dienstfrey and I chaired the area from 2013-2015: Vanessa Theme Ament, Tim Anderson, JJ Bersch, Vincent Bohlinger, Jeffrey Bullins, iii Anastasia Fedorova, Helen Hanson, Lea Jacobs, Mark Kerins, William Knoblauch, Alex Kupfer, Ariane Lebot, Neil Lerner, Dong Liang, Casey Long, Amanda McQueen, Paul Moody, Jeremy Morris, Matthew Perkins, Ivy Roberts, Eloise Ross, Nathan Ruyle, Michael Slowik, Jacob Smith, Jeff Smith, Katherine Spring, Matt St. John, Neil Verma, Rebecca Weeks, and Ling Zhang. Thanks is also owed to David Bordwell, Kristin Thompson, and Tom Gunning for attending all the sound area panels and asking discerning questions. The Society for Cinema and Media Studies, Music and the Moving Image, and Film Studies Association of Canada conferences have also provided fruitful feedback. Thank you to Gillian Anderson, Jay Beck, James Buhler, Lisa Coulthard, Kevin Donnelly, Jennifer Fleeger, Liz Greene, Nessa Johnston, Randolph Jordan, Ilario Meandri, Colleen Montgomery, Ron Sandoff, Joan Titus, Ben Wright, Josh Gleich, Paul Monticone, Christine Evans, Chelsea Birks, Jack Dubowsky, Michael Baker, James Lyons, Brenda Austin-Smith, and James Lastra for their support, conversations, and engaging questions. During the summer of 2014 I attended the Dalhousie-Paris 3 Summer Institute in Film Studies on Local and Global film. There I was nurtured by all those who participated: Jerry White, Shannon Brownlee, Jennifer VanderBurgh, Raphaëlle Moine, Laurent Creton, Emmanuel Siety, Jessica Bay, Celia Nicholls, and Conall Ó Duibhir. I would also like to extend my gratitude to Elizabeth McIntosh and Steven Murray in Vancouver and Ellen Perecman in New York for opening their homes to me during conferences. My scholarship has also been honed by my colleagues at Wilfrid Laurier University, particularly Anders Bergstrom, Anton Bergstrom, Maggie Clark, Liz Clarke, Patrick Faubert, Susan Hroncek, Justin Shaw, John Smith, and Brooke Southgate. Thank you all for the stimulating conversations, encouragement, constructive critiques, and fun. I have been kept sane and grounded during the writing of this dissertation by a number of truly exceptional people that I feel blessed to have in my life. Adam Nayman’s encouragement during a particularly challenging time kept me going. Dora-Marie Goulet, Sasha Dyck, and Lucille Marr have offered listening ears and sage advice. Katherine Kenny, Stephanie Forte Haelzle, Ute Busse, and Nikki Mossop have kept me active by reminding me of my love of horses. Last, but certainly not least, Amanda and Brent Leveille, Jen Doyle, and Scott Smith have been there for me when I needed them most. Amanda and Jen have been true friends and continue to go the extra mile for me.
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