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Roger Savage Some Mainland Chinese Work
did you get that soundtrack?’ and the answer was, ‘in Australia’. is because often the actors they use can’t speak very good Soon after that we started doing a lot of low-budget films and Mandarin – their native tongue is often Cantonese, Korean or Roger Savage some Mainland Chinese work. One of these low-budget films even Japanese. In House of Flying Daggers, for instance, some of was directed by Zhang Yimo, who directed Hero in 2004. It the main actors were Korean and Japanese whose Mandarin was So many international awards… so little cupboard space. was through this previous association that we found ourselves unacceptable to the Mainland Chinese audience. To satisfy the working on that film as well. Hero was quite an unusual Chinese audiences the production hired voice artists to come in Andy Stewart talks to Australia’s most decorated film soundtrack, not your typical Hollywood soundtrack. and redo the voice at our studio in Beijing. The Chinese editors mixer about operating Soundfirm and what’s involved in AS: In what way was the Hero soundtrack different? then expertly cut the voice back into the film – they did an RS: The Chinese directors don’t bow down to the studio system, amazing job. Neither House of Flying Daggers nor Hero sound or delivering great sound to a cinema audience. they don’t have to, so they make their films the way they want. look like a dubbed film at all. Often the films themselves are way out there, which often means AS: What’s involved in good ADR in your experience and how the soundtrack is as well. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
SYNC EVENT the Ethnographic Allegory of Unsere Afrikareise
SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen Department of Media Studies Master’s Thesis 30 HE credits Cinema Studies Master’s Programme in Cinema Studies Spring 2016 Supervisor: Associate Professor Malin Wahlberg SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen ABSTRACT The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio- vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film. KEYWORDS Experimental Ethnography, Film Sound, Audio-Vision, Experimental Cinema, Documentary, Ethnographic Film CONTENTS INTRODUCTION 1 Demarcation 6 Survey of the field 7 Background 12 Disposition 15 I. -
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. -
PAUL TURANO [email protected]
PAUL TURANO [email protected], www.paulturano.com Education: M.F.A. MASSACHUSETTS COLLEGE OF ART, 1995 Filmmaking. Studied with Dan Eisenberg, Ericka Beckman, Mark Lapore, Saul Levine B.A. HAMPSHIRE COLLEGE, 1991 Film and Video Production, Critical Studies. Studied with Abraham Ravett, Joan Braderman, Abigail Child, Susan Douglas Academic Work Experience: ASSOCIATE PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2018 – PRESENT Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ASSISTANT PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2012 – SPRING 2018 Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ARTIST-IN-RESIDENCE, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: FALL 2007 – SPRING 2012 Teaching courses in intermediate sync sound narrative filmmaking, introductory 16mm filmmaking, and graduate level film and video production, MFA thesis chair and reader. VISITING FACULTY, ANNENBERG COMMUNICATIONS CENTER PINE MANOR COLLEGE: SPRING 2007 Course in digital movie making. ADJUNCT FACULTY IN COMPUTER ANIMATION ART INSTITUTE OF BOSTON: FALL 2004 Courses in digital animation with Flash, AfterEffects, and Final Cut Pro for individual projects. FULL TIME VISITING FILM FACULTY SCHOOL OF THE MUSEUM OF FINE ARTS: FALL 2000 – FALL 2005 Courses in advanced sync sound, intermediate 16mm film production and digital post-production, optical printing, Super 8 filmmaking, critical screening seminars; graduate MFA thesis and undergraduate advising; Acting Area Coordinator and Representative. FILM STUDIO MANAGER MASSACHUSETTS COLLEGE OF ART: SUMMER 1996 – SUMMER 2000 Roles included maintaining and teaching all aspects of film, animation, video, and computer equipment; organizing department screenings and visiting artists; managing student workers. -
Classical Hollywood As an Epistemological Network
CLASSICAL HOLLYWOOD AS AN EPISTEMOLOGICAL NETWORK Birk Weiberg The paper discusses optical effect techniques of the 1930s and early sound film as intrinsic practices of commercial cinema. The approach only to be sketched here is to discuss structures, machines, people, and institutions as tantamount agents of an epistemological network where education turns into means of development and control. Perhaps no other medium has been described, analyzed, and understood in relation to other media as much as film has been. Theatre, photography, and magic provided a framework for understanding the intermediality of film as an exchange between people, objects, and techniques. In what follows I shall leave aside the peculiarities of these entities, and shall instead regard them as equivalent containers of knowledge – a reduction that resembles Bruno Latour’s concept of an ontological symmetry of human and non-human actors. [1] The attempt to describe Hollywood around 1930 as an epistemological network immediately raises the questions of how much external knowledge was necessary and how much was digestible to support the development of a relatively young medium like film at that time? I shall claim that Hollywood progres- sively excluded external ‘actors’ and therefore was forced to establish its own structures in order to compensate this loss or integrate knowledge on its own terms. The fact that most people working in the industry did not have higher or specialized education proved to be favorable for achieving independence. Autonomy here means self-referentiality as opposed to inter- mediality. 1 Hollywood & Education In 1927, banker Joseph P. Kennedy, who had recently made his first ventures into the movie business, organized a lecture series at Harvard Business School. -
Download (Binaural and Ambisonics B-Format Files)
Cover Page The handle http://hdl.handle.net/1887/47914 holds various files of this Leiden University dissertation Author: Chattopadhyay, B. Title: Audible absence: searching for the site in sound production Issue Date: 2017-03-09 Part II: Articles The following 6 articles are published in this dissertation in their original form (i.e. as they were published, accepted or submitted in peer-reviewed journals). I have chosen to insert short postscripts or comments on the first page of each article and besides added some comments here and there inside the articles on the basis of new insights gained throughout my research process, serving as clarification or to critically comment on them and connect them to each other as well as to the topics discussed in the Introduction and Conclusion. These blue and green-colored postscripts establish the context in which the articles can be considered part of the main body of research for this dissertation. 45 46 Article 1: Chattopadhyay, Budhaditya (2017). “The World Within the Home: Tracing the Sound in Satyajit Ray’s Films.” Music, Sound, and the Moving Image Autumn issue (Accepted). This article deals with the first historical phase of sound production in India, as explained in the Introduction, namely: analogue recording, synchronized sound, and monaural mixing (1931– 1950s). Satyajit Ray emerged during this period and made full use of these techniques; hence, his work with sound is used as a benchmark here when studying this specific period of sound production. The article examines the use of ambient sound in the early years of film sound production, highlighting two differing attitudes, the first markedly vococentric and music-oriented, the second applying a more direct sound aesthetics to create a mode of realism. -
Camera Operator of the Year Award
BEST CINEMATOGRAPHY | CLAUDIO MIRANDA LAUDIO MIRANDA LAUDIO C | CINEMATOGRAPHY BEST “And everybody asked me would I try again...? I never did. As a matter of fact, I have never done anything with my life after that....” “A visual triumph that advances the art of screen storytelling leaps and bounds ahead of everything that has come before.....” – Pete Hammond, Hollywood.com US $7.00 AWARDS ISSUE 2009 Display Until April 2009 2009 Special Awards Issue THE OPERATING CAMERAMAN: TRANSITIONS 1 © 2009 Paramount Pictures. All Rights Reserved. PARAMOUNTGUILDS.COM WWW.SOC.ORG CAMERACAMERA OPERATOROPERATOR VOLUME 18, NUMBER 1 SPECIAL AWARDS ISSUE 2009 Filming Law & Order: Criminal Intent out east on the north shore of Long Island. Courtesy of Al Cerullo. Features: SOC Lifetime Achievement Awards Celebration Meet the people who are being honored this Cover: year for Lifetime Achievement as a Camera Operator, Camera Technician, Mobile Platform Camera Operator, and Still Photographer, for the President’s Award, for Outstanding Achievement in Technology, for Distinguished 6 Service, and for the 2nd annual Camera Operator of the Year Award. Filming a Heist Cover photo of by Dan Kneece SOC 53 Sean Penn from An Operator’s personal diary description of Milk. © 2008 Focus shooting the feature film Maiden Heist for Features. DP Ueli Steiger ASC. Departments: 2 President’s Letter 61 Transitions by Dan Kneece SOC 63 Last Take; Ad Index 4 News & Notes SOC donation to Childrens Hospital Vision 64 Roster of the SOC Center; Holiday Screening. as of 1/9/09 Camera Operator Letter from the President Special Awards Issue 2009 elcome to the 2009 Past recipients have felt that Editor . -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
Copyright by Philip Joseph Wagner 2016
UNIVERSITY OF CALIFORNIA Los Angeles Research, Rhetoric, and the Cinematic Events of Cecil B. DeMille A Dissertation Submitted in Partial Satisfaction of the Requirement for the Degree of Doctor in Philosophy In Film and Television by Philip Joseph Wagner 2016 ©Copyright by Philip Joseph Wagner 2016 ABSTRACT OF THE DISSERTATION Research, Rhetoric, and the Cinematic Events of Cecil B. DeMille By Philip Joseph Wagner Doctor of Philosophy in Film and Television University of California, Los Angeles, 2016 Professor Chon A. Noriega, Chair This dissertation looks to the career of epic cinema pioneer Cecil B. DeMille in order to grasp the role of the research department in the Hollywood studio system. Situated at the intersections of three areas of study—scholarship on the form and social function of popular historical representation; theorizing on the archive as a site of knowledge production; and studies on film authorship that attend to the historical underpinnings of aesthetic choices—the dissertation explores the following questions in particular: What were the industrial standards on which studio researchers based the success and authenticity of their work? And what can we know about the research process as it relates to the production and reception of DeMille’s brand of spectacular cinema? ii I offer this study as an intervention into previous scholarship on research practice in Hollywood, which too often stresses cinema’s divergence from the factual record and draws a rigid binary between academia’s histories and the “unprofessional” ones derived from research departments. This study takes a different approach by examining a wider range of archival materials, including studio library circulation records, scaled prop sketches based on photographs and artifacts, and researcher correspondence with historical consultants and museum curators. -
Westminsterresearch the Digital Turn in Indian Film Sound
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The Digital Turn in Indian Film Sound: Ontologies and Aesthetics Bhattacharya, I. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr Indranil Bhattacharya, 2019. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] THE DIGITAL TURN IN INDIAN FILM SOUND: ONTOLOGIES AND AESTHETICS Indranil Bhattacharya A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2019 ii Abstract My project maps film sound practices in India against the backdrop of the digital turn. It is a critical-historical account of the transitional era, roughly from 1998 to 2018, and examines practices and decisions taken ‘on the ground’ by film sound recordists, editors, designers and mixers. My work explores the histories and genealogies of the transition by analysing the individual, as well as collective, aesthetic concerns of film workers migrating from the celluloid to the digital age. My inquiry aimed to explore linkages between the digital turn and shifts in production practices, notably sound recording, sound design and sound mixing. The study probes the various ways in which these shifts shaped the aesthetics, styles, genre conventions, and norms of image-sound relationships in Indian cinema in comparison with similar practices from Euro-American film industries. -
Oxnard Course Outline
Course ID: FTVE R120 Curriculum Committee Approval Date: 10/24/2018 Catalog Start Date: Fall 2019 COURSE OUTLINE OXNARD COLLEGE I. Course Identification and Justification: A. Proposed course id: FTVE R120 Banner title: Beginning Audio Production Full title: Beginning Audio Production Previous course id: FTVE R120 Banner title: Beginning Audio Production Full title: Beginning Audio Production B. Reason(s) course is offered: FTVE R120 is a required course in the AS in Film, Television, and Electronic Media, the Certificate of Achievement in Film, Television, and Electronic Media Production, and a restricted elective in the AS-T in Film, Television and Electronic Media. Students gain hands on experience in recording, editing, mixing and mastering audio providing the skills needed for entry level jobs in the industry. C. Reason(s) for current outline revision: Five year review, update textbooks. A modest change to reason course is offered, SLOs, objectives, methods of instruction and methods of evaluation. D. C-ID: 1. C-ID Descriptor: FTVE 120 2. C-ID Status: E. Co-listed as: Current: None Previous: II. Catalog Information: A. Units: Current: 3.00 Previous: 3.00 B. Course Hours: 1. In-Class Contact Hours: Lecture: 35 Activity: 0 Lab: 52.5 2. Total In-Class Contact Hours: 87.5 3. Total Outside-of-Class Hours: 70 4. Total Student Learning Hours: 157.5 C. Prerequisites, Corequisites, Advisories, and Limitations on Enrollment: 1. Prerequisites Current: Previous: 2. Corequisites Current: Previous: 3. Advisories: Current: Previous: 4. Limitations on Enrollment: Current: Previous: D. Catalog description: Current: This course introduces the theoretical and practical fundamentals of audio production, technology, and terminology.