Factfile: Gce A2 Level Moving Image Arts Advanced Portfolio – Practitioner Study Sound Designer: Alan Splet

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FACTFILE: GCE A2 LEVEL MOVING IMAGE ARTS ADVANCED PORTFOLIO – PRACTITIONER STUDY SOUND DESIGNER: ALAN SPLET Alan Splet Overview Some recommended texts:* Abandoning a previous Eraserhead, David Lynch (1977) career as an accountant, Alan Splet entered the The Black Stallion, Carroll Ballard (1979) film industry in the late 1960’s and worked initially The Elephant Man, David Lynch (1980) on industrial training films. From the early 70’s Dune, David Lynch (1984) onwards he began a long association with director David Lynch. Splet’s innovative use of found sounds *Please note that the filmography of some practitioners featuring in the A2 MIA fact file series may include 18 certificate and distorted industrial audio textures made an films. These films, if significant, may be mentioned in the indelible contribution to Lynch’s work, helping to overview to provide career background but will not be listed transport viewers to strange new realms such as as recommended for study by CCEA. It is the responsibility of the teacher to ensure that students only view films with age the surreal Victorian London of The Elephant Man appropriate content and certification. (1980) and the mysterious desert setting of Lynch’s sci-fi epic, Dune (1984). Many films have had their certification reviewed in recent years. For more details go to www.bbfc.co.uk and use the film certification search function. Some techniques for study and exploration: Credits All images by C.Ryder • Use and repurposing of real sounds Splet built up an extensive library of such sounds for Lynch’s debut Eraserhead (1977) and made startling use of clanking noises and electrical hums. In The Black Stallion (1979), Splet made similarly inventive use of natural sounds, employing techniques such as placing microphones next to a horse’s belly mid-run. © CCEA 2016 1.

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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.
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Sound: Eine Arbeitsbibliographie 2003
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LJMU Research Online
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THTR 363 Syl-Fall
THTR 363: Introduction to Sound Design INSTRUCTOR: Richard K. Thomas, 494-8050 [email protected] OFFICE HOURS: Tuesday: 2:30 – 3:30 p.m., Thursday, 1:30 – 2:30 p.m. PAO 2184 CLASS SCHEDULE: Fall 2011 August 23 Intro to Course (Music As a Foundation, pp. 1 - 6) 25 Lecture: Music Language and Theatre (Music As a Foundation, pp. 6 - 25) 30 Music as a Foundation of Theatre: Origins September 1 Lecture: Primal Elements of Music (Music As a Foundation, pp. 25 – 45) 6 Lecture: Primal Elements of Music (Cont.) 8 Lecture: Primal Elements of Music (Cont.) 13 Lecture: Dramatic Time and Space 17 Lecture: The Function of the Soundscape 20 Group Presentations: General Overview of Design Elements 22 Group Presentations: General Overview of Design Elements (cont.) 27 Watch “More to Live For” in studio (No Rick) 29 No Class: Rick at IRT October 4 Color DVDʼs DUE 6 Color Projects DUE 11 Color (Cont) 13 Octoberbreak 18 Color Composition DUE 20. Time DVDʼs Due 25 Time Projects DUE 27 Time (Cont.) November 1 Time Composition DUE 3 Mass DVDʼs DUE 8 Mass Projects DUE 10 Mass (Cont.) 15 Mass Composition DUE THTR 363 Syllabus: Fall, 2011 Page 2 17 Space DVDʼs DUE 22 Space Projects DUE 24 THANKSGIVING BREAK 29 Space Compositions DUE December 1 Line DVDʼs DUE 6 Line Projects DUE 8 Line (Cont) Final Exam Period: Sonnet Projects Due NOTE: THIS SYLLABUS SUBJECT TO CHANGE!! Course Objectives: The purpose of this course is to introduce students to an aesthetic vocabulary of design elements that is useful in both visual and auditory design.
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Frank Herbert
Contenus Articles Frank Herbert 1 Univers de Dune 5 Dune (roman) 11 Dune (film) 14 Dune (mini-série) 17 Références Sources et contributeurs de l’article 19 Source des images, licences et contributeurs 20 Licence des articles Licence 21 Frank Herbert 1 Frank Herbert Frank Herbert Frank Herbert en octobre 1978 Données clés Nom de naissance Frank Patrick Herbert Activités Romancier Naissance 8 octobre 1920 Tacoma, Washington, États-Unis Décès 11 février 1986 (à 65 ) Madison, Wisconsin, États-Unis Langue d'écriture Anglais américain Genres Science-fiction Distinctions Prix Hugo Prix Nebula Œuvres principales • Cycle de Dune (1965-85) Frank Patrick Herbert (8 octobre 1920 - 11 février 1986) est un écrivain américain, auteur de romans de science-fiction. Ses œuvres connurent un succès commercial et furent acclamées par la critique. Il doit principalement sa célébrité au roman Dune et à la série de cinq romans qui s'ensuivit. La saga de Dune aborde des thèmes tels que la survie de l'espèce humaine et son évolution, l'écologie, ou encore les interactions entre la religion, la politique et le pouvoir. Elle est considérée par beaucoup comme un classique dans le domaine de la science-fiction. Frank Herbert 2 Biographie Frank Herbert est né le 8 octobre 1920 à Tacoma dans l'État de Washington, de Frank Herbert et Eileen McCarthy Herbert. Il décide très tôt de devenir écrivain. Il termine ses études secondaires en 1938, et en 1939, il ment sur son âge afin d'obtenir son premier emploi pour le journal Glendale Star. Pendant la Seconde guerre mondiale, sa carrière d'écrivain est momentanément suspendue lorsqu'il sert les Seabees de l'US Navy pendant six mois en tant que photographe, avant d'être arrêté pour raisons médicales.
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186 ‘The grainy, staticky noise of Eraserhead.’ | LISA CLAIRE MAGEE DARKNESS AUDIBLE: Sub-bass, tape decay and Lynchian noise FRANCES MORGAN Noise is the forest of everything. The existence of noise implies a mutable world through an unruly intrusion of an other, an other that attracts difference, heterogeneity and productive confusion; moreover it implies a genesis of mutability itself. —Douglas Kahn1 DREAMING IN THE BLACK LODGE FEATURING 187 In the interests of research, I undertake Death a Twin Peaks marathon, from the iconic Dread first eight episodes to the end of season Drone two. Afterwards, I dream I am lost Distortion in a dark, airy house, populated with indistinct presences. Like Dale Cooper Doom metal making his multiple ways in and out of each curtained alcove, I become increasingly confused, roaming through 1 Douglas Kahn, Noise Water Meat: A History of Sound in the Arts (M I T, 1999), p.22. The End | AN ELECTRIC SHEEP ANTHOLOGY long rooms that change in shape and size. I can hear a voice, distorted, slowed down and incomprehensible: as the register sinks lower, the house’s darkness becomes more oppressive. Fear hums like a vast machine that operates almost below audible range but whose vibrations are felt in the feet and chest; death and decay take aural shape in rumble, static and hiss. This is not the actual sound of David Lynch’s Black Lodge, of course. Twin Peaks’ sound design reflects the restrictions imposed by television, which has a smaller dynamic range than film, and the series’ abiding sonic impressions, for most, are the constant presence of Angelo Badalamenti’s score, followed by the creative use of the voice, such as the backwards/forwards dialogue used by characters in Cooper’s dreams or visions.
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A Supposedly Fun Thing I'll Never Do Again: Essays And
Praise for David Foster Wallace’s a supposedly fun thing i’ll never do again “Further cements Wal ace’s reputation as probably the most ambitious and prodigious literary talent of his generation, an erupting Vesuvius of prose and ideas and intel ect.” —John Marshal , Seattle Post Intelligencer “The title essay is worth the price of the book… irrefutable proof of comic genius…. Yes, he’s a great writer, get used to it.” —Adam Begley, New York Observer “Wal ace puts enough energy, attitude, thought, ‘fun’ (in and out of quotes) and sheer information into any single page to wear me out. But they don’t…. As long as he’s wil ing to get down and rassle with this stuff, I’m glad to sit here and read al about it.” —David Gates, Newsweek “You don’t want to miss out on reading David Foster Wal ace. Yes, he’s that good.” —Kane Webb, Arkansas Democrat-Gazette “He has Gore Vidal’s biting wit, Christopher Hitchens’s ability to disrobe intel ectual impostors, and Pynchon’s sense of the bizarre…. Not just refreshing, it’s downright exhilarating.” —David Daley, Hartford Courant “Wal ace’s sheer verbal precocity and versatility stun.” —Joan Hinkemeyer, Rocky Mountain News “DFW is smart and funny, a man from whose word processor flows a torrent of bril iant observations and hysterical wit. Do your disposition and your mind a favor: Read this book.” —Steven E. Alford, Houston Chronicle “A marvelous book…. Sparkling reportage…. If one wants to see the zeitgeist auto-grappling, in al its necessary confusions, one must read every essay in this book.” —James Wood, Newsday “Funny as al get-out….
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1 This Copy of the Thesis Has Been Supplied on Condition That Anyone
This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 1 blank 2 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 1 Randall Barnes A thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy November 2005 3 Randall Barnes COLLABORATION AND INTEGRATION: A Method of Advancing Film Sound Based on The Coen Brothers' Use of Sound and Their Mode of Production For the majority of cinema history, the film industry has treated sound as a less integral ingredient in the filmmaking process. This has translated into working practices that have marginalised sound's contribution and have divided personnel. Joel and Ethan Coen's mode of production stands in contrast to a majority of those currently working in the film industry. They foreground sound's contribution by priming their scripts for sound, involving their sound personnel sooner and by encouraging close collaboration between those responsible for the soundtrack. The Coens' model serves as a way of highlighting sound's importance and as way of generating more integrated soundtracks. As such, filmmakers should build upon their mode of production; a notion supported by other professionals and educational institutions. By advocating this alternative way of working, future filmmakers can be encouraged to reassess sound's role in film construction.
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TNS7.1 Art Donaldson.Pdf (315.7Kb)
NS7.1_art_Donaldson/dp29.10.16/sd31.10.16/LS 7.11.16 Lucy Fife Donaldson Feeling and Filmmaking: The Design and Affect of Film Sound ABSTRACT Discussion of cinematic affect most typically attends to response, the impact of the film as we experience it. In this vein, various writers have drawn attention to the physicality of hearing (Sobchack 2005; Cubitt 1998), while others have illuminated the ways in which sound communicates sensory information about the film world (Altman 1992; Chion 1994). However, attention to practice offers further opportunities to think about affect, that decisions made by sound practitioners take into account such considerations; sound practitioners frequently speak about their work in terms of feel, texture and experience. Moreover, the processes of creating film sound requires physical activity and involvement, play and experimentation, which might be literally physical, or have a kind of tactile analogy (to weaving, sculpting and so on). In this sense, affect is in the labour of making the film, as well as in our watching of it. Bringing together theory and practice therefore offers an opportunity to more fully develop an account of the particular contributions of sound to cinematic affect, and perhaps illuminate the significance of practitioners work to the sensory appeal of film more generally – highlighting the creative effort of those filmmakers who traditionally receive less recognition for their achievements. Drawing on published and unpublished interviews with film sound personnel, this article will seek to show how a connection between theory and practice enables a deeper comprehension of filmic affect, traced through the embodied and empathetic qualities of sound work.
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The Contemporary Hollywood Film Soundtrack: Professional Practices and Sonic Styles Since the 1970S
The Contemporary Hollywood Film Soundtrack: Professional Practices and Sonic Styles Since the 1970s Submitted by Amy Charlotte McGill to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, November 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. …………………………………. 2 Abstract Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre.
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O Sound Design De Veludo Azul E a Polifonia De Efeitos Sonoros
UNIVERSIDADE ANHEMBI MORUMBI FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS São Paulo 2016 FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre em Comunicação, da Universidade Anhembi Morumbi, sob a orientação do Prof. Rogério Ferraraz. São Paulo 2016 FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS Dissertação de Mestrado apresentado à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre em Comunicação, da Universidade Anhembi Morumbi, sob a orientação do Prof. Rogério Ferraraz. Aprovado em ________ Prof. Dr. Rogério Ferraraz / Doutor / UAM - Presidente ______________ Prof. Dr. Eduardo Simões dos Santos Mendes / Doutor / USP ______________ Prof. Dr. Maurício Monteiro / Doutor / UAM 1 RESUMO A obra do sound designer Alan Splet (1939-1994) e a importância da edição de efeitos sonoros estudadas através da análise do filme Veludo azul (Blue velvet, EUA, 1986), dirigido por David Lynch. O intuito do projeto é pesquisar o que caracterizava o trabalho com efeitos sonoros de Splet, se ele representou inovação em termos de linguagem cinematográfica e, em caso afirmativo, como isso se deu em comparação a obras anteriores que também tenham apresentado sobreposição de efeitos sonoros. Outro objetivo é verificar ainda a aplicabilidade dos conceitos de polifonia e contraponto em relação às construções sonoras do filme. Palavras-chave: Cinema. Sound design. Polifonia. Contraponto sonoro. Alan Splet.
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Introduction
Notes Introduction 1. Michel Chion describes The Scarlet Empress as a ‘Symphony of Textures’ (2000). 2. James MacDowell has written about the aesthetics of ‘so bad, it’s good’ through detailed exploration of The Room (2013). 3. Raymond Durgnat’s discussion of auteur theory engages with grouping and regrouping Hollywood directors according to facets of style, several cate- gories of which (‘soft’, ‘muscular’, ‘plush’) implies a textural understanding of those films (1967: 80). 4. Thomas Elsaesser and Malte Hagener’s Film Theory: An Introduction Through the Senses (2010) is an indicator of the importance of sensory response to film in theory, as well as a useful reminder that attention to sensory experience is not an entirely new facet of Film Studies. 5. As Ian Garwood points out, sensory scholarship tends to be divided into two camps; those engaging with Merleau-Ponty and those engaging with Deleuze (2013: 14). 6. As indicated by Sobchack (2004), Beugnet (2007), Barker (2009), Elsaesser and Hagener (2010). 7. This bears a relationship to José Ortega y Gasset’s (1968) argument for two different ways of seeing in art, proximate and distant vision. As Gilberto Perez puts it, Ortega’s proximate vision is tactile ‘we don’t merely see, we virtually seize hold of an object with our eyes’ (1998: 135). Perez’s reference to Ortega leads him to a rich discussion of the treatment of objects and space on film – the chapter ‘The Deadly Space Between’ (1998: 123–148). 8. Schiff’s two modes of touching map onto distinctions between haptic and optical visuality. 9.
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