Film Sound: Theory and Practice (Paperback)

~ Elisabeth Weis (Editor), John Belton (Editor)

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An extremely useful and wide-ranging collection of essays devoted to a topic often ignored or taken for granted by visually-dominated studies of the moving picture... -- Review

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"An extremely useful and wide-ranging collection of essays devoted to a topic often ignored or taken for granted by visually-dominated studies of the moving picture..." -- Gerald Mast, University of Chicago

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Product Details

• Paperback: 462 pages
• Publisher: Columbia University Press (August 15, 1985)
• Language: English
• ISBN-10: 0231056370
• ISBN-13: 978-0231056373
• Product Dimensions: 8.7 x 5.8 x 1.1 inches
• Shipping Weight: 1.4 pounds (View shipping rates and policies)
• Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
• Amazon.com Sales Rank: #417,028 in Books (See Bestsellers in Books)

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1 of 2 people found the following review helpful:

3.0 out of 5 stars Table of Contents, August 4, 2008

By	Curupira (Salvador, Bahia Brazil) - See all my reviews

Part I. History, Technology, and Aesthetics

Introduction
The Coming of Sound: Technological Change in the American Film Industry, by Douglas Gomery
Economic Struggle and Hollywood Imperialism: Europe Converts to Sound, by Douglas Gomery
Film Style and Technology in the Thirties: Sound, by Barry Salt
The Evolution of Sound Technology, by Rick Altman
Ideology and the Practice of Sound Editing and Mixing, by Mary Ann Doane
Technology and Aesthetics of Film Sound, by John Belton

Part II: Theory

Section 1: Classical Sound Theory
A Statement, by S. M. Eisenstein, V. I. Pudovkin, and G. V. Alexandrov
Asynchronism as a Principle of Sound Film, by V. I. Pudovkin
The Art of Sound, by René Clair
Manifesto: Dialogue on Sound, by Basil Wright and B. Vivian Braun
Sound in Films, by Alberto Cavalcanti
A New Laocoön: Artistic Composites and the Talking Film, by Rudolph Arnheim
Theory of Film: Sound, by Bela Balazs
Dialogue and Sound, by Siegfried Kracauer
Slow-Motion Sound, by Jean Epstein

Section 2: Modern Sound Theory
Notes on Sound, by Robert Bresson
Direct Sound: An Interview with, by Jean-Marie Straub and Danièle Huillet
Aural Objects, by Christian Metz
The Voice in the Cinema: The Articulation of Body and Space, by Mary Ann Doane

Part III: Practice

Section I: Practice and Methodology
Fundamental Aesthetics of Sound in the Cinema, by David Bordwell and Kristin Thompson
On the Structural Use of Sound, by Noël Burch

Section 2: Pioneers
The Movies Learn to Talk: Ernst Lubitsch, René Clair, and Rouben Mamoulian, by Arthur Knight
American Sound Films, 1926-1930,, by Ron Mottram
Applause: The Visual and Acoustic Landscape, by Lucy Fischer
Enthusiasm: From Kino-Eye to Radio Eye, by Lucy Fischer
Lang and Pabst: Paradigms for Early Sound Practice, by Noël Carroll
The Voice of Silence: Sound Style in John Stahl's Back Street, by Martin Rubin

Section 3: Stylists
Orson Welles' Use of Sound, by Penny Mintz
The Evolution of Hitchcock's Aural Style and Sound in The Birds, by Elisabeth Weis
The Sound Track of The Rules of the Game, by Michael Litle
Sound in Bresson's Mouchette, by Lindley Hanlon
Godard's Use of Sound, by Alan Williams
Section 4: Contemporary Innovators
Altman, Dolby, and the Second Sound Revolution, by Charles Schreger
Sound Mixing and Apocalypse Now: An Interview with Walter Murch, by Frank Paine
The Sound Designer, by Marc Mancini
Sound and Silence in Narrative and Nonnarrative Cinema, by Fred Camper