Sound Theory/Sound Practice provides a major re-examination of the place of sound in cinema. Individual essays cover such diverse topics as the conversion to sound, cartoon sound, documentary sound, and voices of women in third-world cinema. This collection combines unpublished articles by established scholars who first attracted academic attention to cinema sound - Rick Altman, John Belton, Michel Chion, and Alan Williams - with work written by a new generation of sound-sensitive scholars.
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3 of 3 people found the following review helpful
Format:Paperback|Amazon Verified Purchase
Sound Theory, Sound Practice is a great collection of essays that goes beyond the (then) current state of film sound scholarship. There were two main approaches: one dealing with psychoanalytic and semiotic theory, favored by the film theorists; and the other dealing almost exclusively with music, favored by the musicologists. This volume represents the work of important scholars who see the value in both, but also go beyond approaching the film not as a text, but as an event.
The obvious highlight is Rick Altman's many contributions that make the rest of the scholarship possible. These writers demonstrate not only a thorough knowledge of critical theory, but of the physics of sound as well. This is a rather unique approach as most authors don't want to get too technical outside the field of film. That's not to say these essays are purely technical - far from it. They simply use technical explanations when a technical explanation is required.
Overall, this is definitely the most essential book on film sound out there. Altman's previous collection "Cinema/Sound" in the French Yale Review was great for the time and still offers a lot of great ideas, but this represents a couple more decades worth of work in the field. Film sound theory has come a long way.
The obvious highlight is Rick Altman's many contributions that make the rest of the scholarship possible. These writers demonstrate not only a thorough knowledge of critical theory, but of the physics of sound as well. This is a rather unique approach as most authors don't want to get too technical outside the field of film. That's not to say these essays are purely technical - far from it. They simply use technical explanations when a technical explanation is required.
Overall, this is definitely the most essential book on film sound out there. Altman's previous collection "Cinema/Sound" in the French Yale Review was great for the time and still offers a lot of great ideas, but this represents a couple more decades worth of work in the field. Film sound theory has come a long way.
By C. Martin
Format:Paperback|Amazon Verified Purchase
"Sound Theory, Sound Practice" is mainly a collection of essays covering the theoretical, historical and what the author calls "Neglected Domains" or what one could call a potpourri of topics for thought and discussion.
What's great about the book is while reading it I felt like I was sitting at a roundtable discussion with some really great sound folk who'd given some thought to what this thing called "sound" is all about.
It is specifically geared to the film industry. However, as a theatre sound designer, from the topics offered in the book I found interesting insights into the craft causing a rethinking of alot of the assumptions I previously held about what sound design as a production element can bring to a show.
I also really like the author's "Baker-Dozen Terms for Sound Analysis" which when added to a vocabulary helps when talking with others (in the industry or just interested)about what makes good sound design. The terms also offer designers a starting point or even a framework for discussions with directors during concept meetings about where the design can go throughout the production process.
A good book for film and stage designers alike. Pick up a copy!
What's great about the book is while reading it I felt like I was sitting at a roundtable discussion with some really great sound folk who'd given some thought to what this thing called "sound" is all about.
It is specifically geared to the film industry. However, as a theatre sound designer, from the topics offered in the book I found interesting insights into the craft causing a rethinking of alot of the assumptions I previously held about what sound design as a production element can bring to a show.
I also really like the author's "Baker-Dozen Terms for Sound Analysis" which when added to a vocabulary helps when talking with others (in the industry or just interested)about what makes good sound design. The terms also offer designers a starting point or even a framework for discussions with directors during concept meetings about where the design can go throughout the production process.
A good book for film and stage designers alike. Pick up a copy!
Citations (learn more)
This book cites 84
books:
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17
books
cite this book:
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- The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 by David Bordwell on 4 pages
- Film Sound: Theory and Practice by Elisabeth Weis in Back Matter (1), Back Matter (2), and Back Matter (3)
- The Jazz Singer (Wisconsin / Warner Bros. Screenplays) by Robert L. Carringer on page 130, page 131, and Back Matter
- Orson Welles by Andre Bazin on page 205, and Back Matter
- The American Film Musical by Rick R. Altman in Front Matter, and Back Matter
See all 84 books this book cites
- Into the Vortex: Female Voice and Paradox in Film by Britta Sjogren in Front Matter, Back Matter (1), and Back Matter (2)
- Cultural Transactions: Nature, Self, Society by Paul Hernadi on page 41, page 44, and page 50
- Rhetoric and Representation in Nonfiction Film (Cambridge Studies in Film) by Carl R. Plantinga in Back Matter (1), and Back Matter (2)
- The Knowledge Medium: Designing Effective Computer-Based Educational Learning Environments by Gary A. Berg in Back Matter
- Art, Technology, Consciousness: Mind @ Large by Roy Ascott on page 107
See all 17 books citing this book
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