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Film Sound: Theory and Practice
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This classic anthology provides essential models for analyzing sound stylistics through the detailed study of critical sound films. Elisabeth Weis and John Belton carefully curate major essays from the world's most respected film historians, aestheticians, and theorists, including Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, René Clair, Béla Belázs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noël Burch, and Arthur Knight. Their selections recount the innovations and triumphs of Ernst Lubitsch, Fritz Lang, Orson Welles, Alfred Hitchcock, Rouben Mamoulian, Dziga Vertov, Robert Bresson, Jean-Luc Godard, Robert Altman, and Francis Ford Coppola, among many others, and explicate the techniques and practices of sound filmmaking from initial recordings to final theater playback. Film Sound is the ideal companion for anyone seeking both a comprehensive introduction to the form and a rich survey of its historical and global evolution.
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Product details
Paperback: 462 pages
Publisher: Columbia University Press (April 15, 1985)
Language: English
ISBN-10: 0231056370
ISBN-13: 978-0231056373
Product Dimensions:
5.8 x 1.1 x 9 inches
Shipping Weight: 1.7 pounds (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
4 customer reviews
Amazon Best Sellers Rank:
#139,628 in Books (See Top 100 in Books)
This book is full of great articles on film sound that give different perspectives on this matter. Really one of the great sources of information. Maybe it wouldn't be quite suitable for an amateur cinephile who's interests maybe rather general but for someone who's really interested in depth in this matter this book gives great opportunity to get to know one of the most useful articles in the field.
The classic
I got this book because after 4 years of film school, I still felt as if I had been shortchanged when it came to learning sound design. I had been taught how to record and edit sound, been taught how to do ADR, been taught all the different types of microphones; but I still didn't know WHY to use one type of microphone over another, WHY using an omnidirectional, or a shotgun, or a lavalier mic would change the feel of a scene (and how this would in turn change depending on whether that sound was being matched with a closeup or a long shot). In short, I was never taught the aesthetic significance behind any of the options I was presented with. My formal education on the topic had been entirely technical. As the editors make clear in the preface to this anthology, it was their attempt to compile a book "addressed to aestheticians rather than technicians." At this they've done an incredible job.The scope is broad - covering theory, practice, history, as well as the technological side - different essays focusing on individual films, directors, genres, historical periods or the medium as a whole. The viewpoints of the authors are also as diverse as anything you'll find in film studies generally, ranging from Marxist, formalist and psychoanalytic analysis to more straightforward historical or technical writing.As a filmmaker, this book has been eye opening (or should I say ear opening?). For the first time I am finally able to think about sound design in the same way that I think about any other element of a film. Since starting to read the book, I've paid more attention to the sound design in all of the films I've watched.This book was written in 1985. No doubt does this mean that innovations in the field since 1985 (most notably the dawn of digital editing and sound mixing) are left out from the book. But even so, if you are a filmmaker who is looking to gain some insight into what film sound is all about, this is an excellent place to start.
Part I. History, Technology, and AestheticsIntroductionThe Coming of Sound: Technological Change in the American Film Industry, by Douglas GomeryEconomic Struggle and Hollywood Imperialism: Europe Converts to Sound, by Douglas GomeryFilm Style and Technology in the Thirties: Sound, by Barry SaltThe Evolution of Sound Technology, by Rick AltmanIdeology and the Practice of Sound Editing and Mixing, by Mary Ann DoaneTechnology and Aesthetics of Film Sound, by John BeltonPart II: TheorySection 1: Classical Sound TheoryA Statement, by S. M. Eisenstein, V. I. Pudovkin, and G. V. AlexandrovAsynchronism as a Principle of Sound Film, by V. I. PudovkinThe Art of Sound, by René ClairManifesto: Dialogue on Sound, by Basil Wright and B. Vivian BraunSound in Films, by Alberto CavalcantiA New Laocoön: Artistic Composites and the Talking Film, by Rudolph ArnheimTheory of Film: Sound, by Bela BalazsDialogue and Sound, by Siegfried KracauerSlow-Motion Sound, by Jean EpsteinSection 2: Modern Sound TheoryNotes on Sound, by Robert BressonDirect Sound: An Interview with, by Jean-Marie Straub and Danièle HuilletAural Objects, by Christian MetzThe Voice in the Cinema: The Articulation of Body and Space, by Mary Ann DoanePart III: PracticeSection I: Practice and MethodologyFundamental Aesthetics of Sound in the Cinema, by David Bordwell and Kristin ThompsonOn the Structural Use of Sound, by Noël BurchSection 2: PioneersThe Movies Learn to Talk: Ernst Lubitsch, René Clair, and Rouben Mamoulian, by Arthur KnightAmerican Sound Films, 1926-1930,, by Ron MottramApplause: The Visual and Acoustic Landscape, by Lucy FischerEnthusiasm: From Kino-Eye to Radio Eye, by Lucy FischerLang and Pabst: Paradigms for Early Sound Practice, by Noël CarrollThe Voice of Silence: Sound Style in John Stahl's Back Street, by Martin RubinSection 3: StylistsOrson Welles' Use of Sound, by Penny MintzThe Evolution of Hitchcock's Aural Style and Sound in The Birds, by Elisabeth WeisThe Sound Track of The Rules of the Game, by Michael LitleSound in Bresson's Mouchette, by Lindley HanlonGodard's Use of Sound, by Alan WilliamsSection 4: Contemporary InnovatorsAltman, Dolby, and the Second Sound Revolution, by Charles SchregerSound Mixing and Apocalypse Now: An Interview with Walter Murch, by Frank PaineThe Sound Designer, by Marc ManciniSound and Silence in Narrative and Nonnarrative Cinema, by Fred Camper
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