
Bibliography Abel, Richard, and Rick Altman, eds. The Sounds of Early Cinema. Bloomington: Indiana University Press, 2001. Adorno, Theodor. The Culture Industry: Selected Essays on Mass Culture. London: Routledge, 1999. Adorno, Theodor. “On the Fetish-Character in Music and the Regression of Listening.” [1938] In The Essential Frankfurt School Reader. Eds. Andrew Arato and Eike Gebhardt, 270-299. New York: Urizen Books, 1978. Agamben, Giorgio. Che cos'è un dispositivo? Roma: Nottetempo, 2006. Agamben, Giorgio. Image et mémoire. Paris: Hoëbeke, 1998. Agamben, Giorgio. Quel che resta di Auschwitz. L'archivio e il testimone. Homo sacer. III. Torino: Bollati Boringhieri, 1998. Akrich, Madeleine. “The De-Scription of Technical Objects.” In Shaping Technology, Building Society. Studying in Sociotechnical Change. Ed. Wiebe E. Bijker and Law John, 205-24. Cambridge, Mass: MIT Press, 1992. Altman, Rick. Silent Film Sound, Film and Culture Series. New York: Columbia University Press, 2004. Altman, Rick. “General Introduction: Cinema as Event.” In Sound Theory/Sound Practice. Ed. Rick Altman, 1-14. New York: Routledge, 1992. Altman, Rick. “The Material Heterogeneity of Recorded Sound.” In Sound Theory/Sound Practice. Ed. Rick Altman, 15-31. New York: Routledge, 1992. Altman, Rick. “The Evolution of Sound Technology.” In Film Sound Theory and Practice. Eds. Elisabeth Weis and John Belton, 44-53. New York: Columbia University Press, 1985. Anderson, Ben. “Recorded music and practices of remembering,” Social and Cultural Geography 5 (2004): 3-20. Anderson, Chris. “The Long Tail”, in WIRED 12 (2004): 170-177. Available at http://www.wired.com/wired/archive/12.10/tail.html. Anderson, Gillian B. “Preserving our Film Heritage or Making Mongrels? The Presentation of Early (Not Silent) Films.” Journal of Film Preservation 57 (1998): 19-24. 185 Anderson, Gillian B. Music for Silent Films, 1894-1929: A Guide. Washington, D.C.: Library of Congress, 1988. Assman, Jan. Cultural Memory and Early Civilization: Writing, Remembrance, and Political Imagination. Cambridge: Cambridge University Press, 2011. Augé, Marc. Oblivion. Minneapolis: University of Minnesota Press, 2004. Augoyard, Jean François, Henry Torgue, eds. Sonic Experience: a Guide to Everyday Sounds. Montréal, Kingston: McGill-Queen’s University Press, 2005. Auslander, Philip. Liveness: Performance in a Mediatized Culture. London: Routledge, 2008 [1999]. Bandt, Ros, Michelle Duffy, and Dolly MacKinnon, eds. Hearing Places: Sound, Place, Time and Culture. Newcastle: Cambridge Scholars Press, 2007. Bandy, Mary Lea, ed. The Dawn of Sound. New York: The Museum of Modern Art, 1989. Bannon, Liam J. “Forgetting as a Feature, Not a Bug: The Duality of Memory and Implications for Ubiquitous Computing,” CoDesign 2.1 (2006): 3-15. Barnier, Martin. “J’entends plus le son!” In Quel che brucia (non) ritorna - What Burns (Never) Returns. Eds. Giulio Bursi and Simone Venturini, 161-75. Udine: Campanotto Editore, 2011. Barthes, Roland. Camera Lucida. Reflections on Photography. Translated by Richard Howard. New York: Hill & Wang, 1981. Originally published as La chambre claire. Note sur la photographie. Seuil: Editions Gallimard, 1980. Baudrillard, Jean. Le crime parfait. Paris: Edition Galilée, 1995. Baudrillard, Jean. “Simulacra and Simulations.” In Jean Baudrillard: Selected Writings, 166-184. Stanford, CA: Stanford University Press, 1988. Baudry, Jean-Louis. “The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema.” In Narrative, Apparatus, Ideology. Ed. Philip Rosen, 299-318. New York: Columbia University Press, 1986. Originally published as “Le dispositif: approches métapsychologique de l’impression de réalité,” Communications, no. 23 Psychoanalyse et Cinéma. Paris: Seuil, 1975. Baudry, Jean-Louis. “Ideological Effects of the Basic Cinematographic Apparatus.” Translated by Alan Williams. In Narrative, Apparatus, Ideology. Ed. Philip Rosen, 286-98. New York: Columbia University Press, 1986. Originally published as “Effets idéologiques produits par l’appareil de base,” Cinéthique 7/8 (1970): 1-8. 186 Baudry, Jean-Louis. L’Effet cinéma. Paris: Albatros, 1978. Bazin, André. What is Cinema? Vol I. Translated by Hugh Gray. Berkeley: University of California Press, 1967. Originally published as Qu'est-ce que le cinéma? I. Paris: Editions du Cerf, 1958. Belton, John. “1950s Magnetic Sound: The Frozen Revolution.” In Sound Theory/Sound Practice. Ed. Rick Altman, 1-14. New York: Routledge, 1992. Belton, John. “Technology and Aesthetics of Film Sound.” In Film Sound Theory and Practice. Ed. Elisabeth Weis and John Belton, 63-72. New York: Columbia University Press, 1985. Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Film Theory and Criticism. Eds. Gerald Mast and Marshall Cohen, 848-70. New York and Oxford: Oxford University Press, 1979. Originally published as “Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit,” 1936. Benschop, Ruth. “Memory machines or musical instruments? Soundscape compositions, recording technologies and reference,” International Journal of Cultural Studies, 10.4 (2007): 485-502. Bergson, Henri. Matter and Memory. [1986] New York: Zone Books, 1991. Bernardi, Sandro, ed. Svolte tecnologiche nel cinema italiano. Sonoro e colore. Una felice relazione tra tecnica ed estetica. Roma: Carocci, 2006. Besser, Howard. “Digital Preservation of Moving Image Material?” The Moving Image 2 (2001): 39-55. Birchard, Robert S. “Saving Sound Tracks.” American Cinematographer, Vol. 88, no. 9 (2007): 80-82. Birdsall, Carolyn J. Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933-1945. Amsterdam: Amsterdam University Press, 2012. Birdsall, Carolyn J., and Anthony Enns, eds. Sonic Mediations: Body, Sound, Technology. Cambridge: Cambridge Scholars Publisher, 2011. Birdsall, Carolyn J. “Between Noise and Silence: Sound, Technology and Urban Space during Nazi Germany.” PhD Dissertation. Universiteit van Amsterdam, 2010. Blumenberg, Hans. “Light as Metaphor for Truth.” In Modernity and the Hegemony of Vision. Ed. David Michael Levin, 30-60. Berkeley and Los Angeles: University of California Press, 1993. 187 Bolter, Jay David, Blair MacIntyre, Maribeth Gandy, and Petra Schweitzer. “New Media and the Permanent Crisis of Aura.” Convergence: The International Journal of Research into New Media Technologies 1 (2006): 21–39. Bolter, Jay David, and Richard Grusin. Remediation. Understanding New Media. Cambridge Massachusetts: MIT Press, 2000. Borde, Raymond. “Film Restoration: Ethical Problems.” Archives 1 (1986): 90-98. Bordwell, David. Pandora’s Digital Box: Films, Files, and the Future of Movies. Madison, WI: Irvington Way Institue Press, 2012. Bordwell, David, and Kristin Thompson. Film History: An Introduction. New York: McGraw-Hill, 1994. Bowser, Eileen, and John Kuiper, eds. A Handbook for Film Archives. New York: Garland, 1991. Bowser, Eileen. “Alcuni principi del restauro del film.” Griffithiana 38/39 (1990): 172- 173. Boym, Svetlana. The Future of Nostalgia. New York: Basic Books, 2001. Brandi, Cesare. Theory of Restoration. Translated by Cynthia Rockwell. Firenze: Nardini Editore, 2005. Originally published as Teoria del restauro. Torino: Giulio Einaudi Editore, 1977. Branigan, Edward. “Sound and Epistemology in Film.” The Journal of Aesthetics and Art Criticism 47 (Fall 1989): 311-24. Braun, Hans-Joachim, ed. “I Sing the Body Electric.” Music and Technology in the 20th Century. Frankfurt am Main: Wolke Verlag, 2000. Brownlow, Kevin. “Silent Films, what was the right speed?” Sight and Sound Summer (1980): 164-167. Brylawski, Samuel. “Preservation of Digitally Recorded Sound.” In Building a National Strategy for Preservation: Issues in Digital Media Archiving. Ed. Council on Library and Information Resources and the Library of Congress. Washington, D.C.: Council on Library and Information Resources and the Library of Congress, 2002. Bull, Michael, and Les Back, eds. The Auditory Culture Reader. Oxford: Berg, 2003. Busche, Andreas. “Just Another Form of Ideology? Ethical and Methodological Principles in Film Restoration.” The Moving Image 6 (2006): 1-29. 188 Bijker, Wieber E. “Social Construction of Technology.” In International Encyclopedia of the Social & Behavioral Sciences. Eds. Neil J. Smelser and Paul B. Baltes, 15522-15527. Oxford, Amsterdam, etc.: Elsevier Science Ltd., 2001. Bijker, Wieber E. Bicycles, Bakelites and Bulbs. Towards a Theory of Sociotechnical Change. Cambridge Massachusetts: MIT Press, 1995. Bijsterveld, Karin, and José van Dijck, eds. Sound Souvenirs: Audio Technologies, Memory and Cultural Practices. Amsterdam: Amsterdam University Press, 2009. Bijsterveld, Karin. Mechanical Sound. Technology, Culture, and Public Problems of Noise in the Twentieth Century. Cambridge Massachusetts: MIT Press, 2008. Calabretto, Roberto. Lo schermo sonoro: La musica per film. Venezia: Marsilio, 2010. Calabretto, Roberto. “Disco, cinema e musica da film.” In Ri-mediazione dei documenti sonori. Eds. Sergio Canazza and Mauro Casadei Turroni Monti, 641-64. Udine: Forum, 2006. Calzini, Mario. Storia tecnica del film e del disco: Due invenzioni, una sola avventura. Bologna: Cappelli, 1991. Cameron, Evan W., assisted by William F. Wilbert, and Joans-Evans Cameron. Sound and the Cinema. The Coming of Sound to American Film. New York: Redgrave Publishing Company, 1980. Canosa, Michele. “Per una teoria del restauro cinematografico.” In Storia del cinema mondiale, vol. 5. Ed. Gian Piero Brunetta, 1069-1118. Torino: Einaudi,
Details
-
File Typepdf
-
Upload Time-
-
Content LanguagesEnglish
-
Upload UserAnonymous/Not logged-in
-
File Pages18 Page
-
File Size-