An exploration of "wild sound," the cinematic term for sound not synchronized with an image, bringing concepts from early film theory into dialogue with sound studies.
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Michael Pigott is Reader in Film and Television Studies at the University of Warwick, UK. He is the author of Joseph Cornell Versus Cinema (Bloomsbury, 2013), and performs and releases music as Michael Lightborne.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Hardcover. Etat : new. Hardcover. Wild Sound turns an analytic eye and ear to the role of background sound in cinema, to the way that film sound captures, creates, represents, and even critiques the environments that we inhabit. Listening beyond music and dialogue, this book explores the relationship between location sound, sound libraries, and wider practices of field recording in the creation of the film soundtrack. Wild Sound is also interested in the wildness of sound, in the ways in which ambient environmental sounds gesture to a world beyond the frame, and sometimes invite the chaotic, unmanageable energies of the world outside into the hyper-controlled domain of the film. Wild sound, or wild track, is a film industrial term for non-synchronised sounds that often originate from a process of field recording. Immanently useful as atmosphere and sonic filler, these sounds often smuggle a dangerously noisy materiality into the systems of cinema. Ambient sound has been chronically under-appreciated and critically under-examined in the study of cinema. This book asserts that the background sounds of place onscreen are never neutral. Pigott reveals them to be carefully constructed sonic environments that play a quiet but substantial role in determining how film audiences feel about the places, people and events that populate the screen. Each chapter tracks individual sounds across a wide range of international films from the history of cinema, providing rich cultural context and technical detail, drawing out the multiple meanings and formal characteristics of those ambient sounds that are often dismissed as inconsequential. Pigott demonstrates the value of paying close attention to the cinematic sound of place, at a time when it has never been more vital to examine how we imagine and treat our environments. An exploration of "wild sound," the cinematic term for sound not synchronized with an image, bringing concepts from early film theory into dialogue with sound studies. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781501350917
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Vendeur : Rarewaves.com USA, London, LONDO, Royaume-Uni
Hardback. Etat : New. Wild Sound turns an analytic eye and ear to the role of background sound in cinema, to the way that film sound captures, creates, represents, and even critiques the environments that we inhabit. Listening beyond music and dialogue, this book explores the relationship between location sound, sound libraries, and wider practices of field recording in the creation of the film soundtrack. Wild Sound is also interested in the wildness of sound, in the ways in which ambient environmental sounds gesture to a world beyond the frame, and sometimes invite the chaotic, unmanageable energies of the world outside into the hyper-controlled domain of the film. 'Wild sound', or 'wild track', is a film industrial term for non-synchronised sounds that often originate from a process of field recording. Immanently useful as atmosphere and sonic filler, these sounds often smuggle a dangerously noisy materiality into the systems of cinema. Ambient sound has been chronically under-appreciated and critically under-examined in the study of cinema. This book asserts that the background sounds of place onscreen are never neutral. Pigott reveals them to be carefully constructed 'sonic environments' that play a quiet but substantial role in determining how film audiences feel about the places, people and events that populate the screen. Each chapter tracks individual sounds across a wide range of international films from the history of cinema, providing rich cultural context and technical detail, drawing out the multiple meanings and formal characteristics of those ambient sounds that are often dismissed as inconsequential. Pigott demonstrates the value of paying close attention to the cinematic sound of place, at a time when it has never been more vital to examine how we imagine and treat our environments. N° de réf. du vendeur LU-9781501350917
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Vendeur : CitiRetail, Stevenage, Royaume-Uni
Hardcover. Etat : new. Hardcover. Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscapefilm's "wild sound"which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment.The latter half of the book shifts attention from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. N° de réf. du vendeur 9781501350917
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Vendeur : Revaluation Books, Exeter, Royaume-Uni
Hardcover. Etat : Brand New. 160 pages. 8.51x5.51x1.00 inches. In Stock. N° de réf. du vendeur x-1501350919
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