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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. cal defense of the potentialities of talking pictures, the cinema’s unwanted scion. In: Vanity Fair 32,79, ￢ History of development of sound in films. April 1929, p. 110. Aldred, John (1997) Cinema Loudspeakers. In: ￢ Predictions of a stage producer. AMPS Newsletter 21, March 1997. Academy of Motion Picture Arts and Sciences, Alkin, Glyn (1981) Sound recording and producti- Research Council (1938) Motion picture sound en- on. London/Boston: Focal Press 1981, 224 pp. gineering. ￢ Repr. 1987. Academy of Motion Picture Arts and Sciences Alkin, E. Glyn M. (1972) Sound with vision: sound (1938) (comp.) Motion picture sound engineering. techniques for television and film. New York: Crane New York: Van Nostrand 1938, 547 pp. Russak 1972. Adamson, J. (1978) Crabquacks. In: Take One 6,2, ￢ London: Butterworths [for the BBC] 1973, 283 pp. 1978, pp. 18-22. ￢ Allighan, Garry (1929) The romance of the talkies. On the impetus which the advent of sound recording London: Claude Stacey 1929, 104 pp. gave cartoons. ￢ General survey of talking films. Discusses the trends Agag [Pseud.] (1931) The new noise. In: G.K’s of public taste, problems entailed in the production of Weekly, 13, 1. August 1931, p. 326. sound films, including new directional techniques. In- ￢ Chronicles the author’s reactions during his first visit cludes some statistical data. to a talking picture. Alsina Thevenet, H. (1979) Asi empesó el sonoro. Ahern, Maurice L. (1930) Hollywood horizons. In: In: Cinema 2002 47, Jan. 1979, pp. 42-45. Commonweal 12, 21. May 1939, pp. 71-73. ￢ Notes on the introduction of sound in films. ￢ Summarizes the effects of the sound revolution on the Alsina Thevenet, H. (1982) Asi empesó el cine so- fortunes of silent-screen and stage actors. noro y parlante. In: Cinemateca Revista 5, 30. Fe- Aiken, Joseph E. (1958) Technical notes and remi- bruary 1982, pp. 22-25. niscences on the presentation of Tykociner’s sound ￢ Coming of sound; problems and shortcomings of the picture contributions. In: Journal of the SMPTE 67, first sound systems. 1958. ￢ Alten, Stanley R. (1981) Audio in media. Belmont, Repr. in: Fielding 1967, pp. 222-223. Cal.: Wadsworth Publishing Co. 1981. ￢ See also McCullough 1958. Sound // Medienwissenschaft/Kiel, 17, 1999 /// 2 Altman, Charles F. (1980) Moving lips: Cinema as Andrew, Dudley (1980) Sound in France: The orig- ventriloquism. In: Yale French Studies, 60, 1980, pp. ins of a native school. In: Yale French Studies, 60, 67-79. 1980, pp. 94-114. ￢ Examines notion of sound-image “redundancy”. Pro- ￢ Repr. in: Rediscovering French film.Ed. by Mary Lea poses model of cinema as ventriloquism – sound track Bandy. Introd. by Richard Roud. New York: The Mu- as ventriloquist, image as dummy – to invert sound- seum of Modern Art; distrib. by New York Graphic image balance in criticism. Society Books (Little, Brown and Comp., Boston) 1983, pp. 57-65. Altman, Charles F. (1980) Introduction. In: Yale French Studies, 60, 1980, pp. 3-15. ￢ Following a historical section on the technological and ￢ economic domination by the United States (Para- Capsule summary of technological developments mount) and Germany (Tobis) of early French sound (e.g., magnetic recording, multiple-channel, Dolby) in film production, analyzes the seminal influences of sound film subsequent to 1927, to stress the separation Renoir’s naturalism (LA CHIENNE) and Grémillon’s of production of sound and image tracks, and the con- poetic realism (LA PETITE LISE). structed nature of film sound. Andrews, Ben (1979) The semiotics of film sound: Altman, Rick (1985a) The technology of the voice. A study of the sound-image articulation in ADIEU PHI- In: Iris 3,1, 1985, pp. 3-20. LIPPINE. Ph.D. Thesis, Columbia, Miss.: University of Altman, Rick (1985b) The evolution of sound tech- Missouri 1979. nology. In: Weis & Belton 1985, pp. 44-53. ￢ Ann Arbor, Mich./London: University Microfilms ￢ Zuerst 1980. 1980. Altman, Rick (1986) Television/sound. In: Studies Anonymous (1907) O.T. In: Der Kinematograph in entertainment: Critical approaches to mass cul- (Düsseldorf), 13, 31.3.1907. ture. Ed. by Tania Modleski. Bloomington/Indiana- ￢ Über das Biophon-Verfahren Messters. polis: Indiana University Press 1986, pp. 39-54. ￢ Anonymous (1908) Wie singende Bilder (Tonbilder) dt.: Fernsehton. In R. Adelmann & J. O. Hesse & J. entstehen. In: Der Kinematograph (Düsseldorf), 65, Keilbach (Eds.), Grundlagentexte zur Fernsehwissen- 25.3.1908. schaft. Konstanz: UVK 2001. ￢ Über das Biophon-Verfahren Messters. Altman, Rick (1992) (ed.) Sound theory, sound practice. New York/London: Routledge 1992, vi, Anonymous (1926) New musical marvels in the 290 pp. (AFI Film Readers.) movies. In: Etude (Philadelphia) 44, Oct. 1926, p. 781. Altman, Rick (1995) The sound of sound. A brief history of the reproduction of sound in movie thea- ￢ Reports the successful first showing of Vitaphone’s ters. In: Cineaste. 21,1-2, pp. 68-71. pioneering sound films including DON JUAN [1926] with John Barrymore. Amarasingham, Indiram (1971) Film-sound- space: The OSS (Optical Sound Synthesizer). In: Anonymous (1927) Development of talking films. Filmmakers Newsletter 4,6, April 1971, pp. 35-38. In: Film Daily Yearbook of Motion Pictures, 1927, p. 814. Ames, Winthrop (1928) The future of the talkies. In: Theatre Guild Magazine 6, October 1928, p. 22. Anonymous (1928) Hollywood speaks. In: The Na- tion 127, 26. Sept. 1928, pp. 285-286. Amyes, Tim (1990) Technique of audio post-pro- ￢ duction in video and film. London: Focal Press 1990, On the current shortcomings of the sound film. 160 pp. Anonymous (1929) Film acting ranks turned over. Anderson, John (1931) The ghost of a show. In: In: Variety 93, 2. Jan. 1929, p. 26. Harper’s Bazaar 65, February 1931, pp. 92-3, 148. ￢ Changes wrought in Hollywood film careers by the ￢ Limitations of the talkies as a creative rival of the li- advent of sound. ving drama. Anonymous (1929) The terrible talkie. In: Review Anderson, Joseph D. (1993) Sound and image to- of Reviews (London) 79, June 1929, p. 148. gether: cross-modal confirmation. In: Wide Angle ￢ On the revolutionizing effects of sound. 15,1, 1993, pp. 30-43. Sound // Medienwissenschaft/Kiel, 17, 1999 /// 3 Anonymous (1929) Shifting values in talking pictu- me nach Fertigstellung der Schnittkopie. Babels- res. In: National Board of Review Magazine 4, May berg: Ufa 1940. 1929, pp. 8-10. Anonymous (1959) Dubbing in the voices. Also a Anonymous (1929) Layout for Bulldog Drummond. big production. In: Life 46, 15. June 1959, pp. 79-80. In: Creative Art 5, Oct. 1929, pp. 729-734. ￢ The dubbing for PORGY AND BESS. Anonymous (1930) The emotive influence of the ci- Anonymous (1961) Magnetic sound recording for nema. In: International Review of Educational Cine- motion pictures. 2nd ed. Rochester, N.Y.: Eastman matography (Rome) 2, March 1930, pp. 297-302. Kodak 1961, 64 pp. (Kodak Publication. P-26.). ￢ Holds that the sound film is superior to the stage in Anonymous (1964) Siemens-Klangfilm Karlsruhe. technique and to other arts in its universality. In: Filmtechnikum, 7, 1964, pp. 195-198. Anonymous (1930) Color and sound on film. In: Anonymous (1975) The new Swintek “Hitchhiker” Fortune 2, Oct. 1930, pp. 33-35, 124, 127-128, 130. cordless microphone system. In: American Cinema- Anonymous (1930) The poor old theatre. In: The tographer 56,6, June 1975, pp. 676-677, 720. Nation 131, 27. Aug. 1930, p. 216. Anonymous (1975) [Inquiry.] In: Chaplin 4 [=139], Anonymous (1930) The talkies’ future. In: The Na- 1975, pp. 180-206; 6 [=141], 1975, pp. 312-318. tion 130, 15. Jan. 1930, pp. 61-62. ￢ Part one: opinions of 35 directors on the significance ￢ Opposes the contention that the talkies will surpass the of sound in film experience. Part two: on the signifi- silent film. cance of sound for filmic expression. Anonymous (1931) Der schlechte Ton. Erfahrungen Anonymous (1976) Time base code systems at Pho- und Ratschläge des technischen Kundendienstes der tokina ’76. In: American Cinematographer 57,12, Ufa. Berlin: A. Scherl 1931, 39 pp. Dec. 1976, pp. 1334-1335. Anonymous (1932) New art fits foreign speech to ￢ Describes a new time base code system fascilitating any film. In: Popular Sciences 121, Nov. 1932, pp. the synchronization of sound and picture.
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