Sound and music in film and visual media an overview

Cover of: Sound and music in film and visual media |

Published by Continuum in New York .

Written in English

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  • Sound motion pictures,
  • Motion picture music -- History and criticism

Edition Notes

Book details

Statementeditor, Graeme Harper ; film editor, Ruth Doughty ; music editor, Jochen Eisentraut.
ContributionsHarper, Graeme.
LC ClassificationsPN1995.7 .S67 2009
The Physical Object
Paginationxii, 877 p. :
Number of Pages877
ID Numbers
Open LibraryOL23228423M
ISBN 100826458246
ISBN 109780826458247
LC Control Number2008028617

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Sound and Music in Film and Visual Media: A Critical Overview is a comprehensive work defining and encapsulating concepts, issues and applications in and around the use of sound in film and the cinema, media/broadcast and new media.

Over thirty definitive full-length essays, which are linked by highlighted text and reference material, bring together original research by many of the world's top.

Get this from a library. Sound and music in film and visual media: an overview. [Graeme Harper;] -- A comprehensive work defining and encapsulating concepts, issues and applications in and around the use of sound in film and the cinema, media/broadcast and new media.

Sound and Music in Film and Visual Media is a mammoth project undertaken by book editor Graeme Harper, film editor Ruth Doughty and music editor Jochen Eisentraut. Over fifty scholars were involved in the project, which covers a vast amount of topics.

This publication represents a solid contribution to the ever-developing scholarly study of Author: Penny Spirou. Sound and Vision is the first significant collection of new and classic texts on video and brings together some of the leading international cultural and music critics writing today.

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Sounds and dialogue must perfectly sync with the actions in a film without delay and must sound the way they look. Already a proponent of clashing visual effects, he saw sound effects as wasted if they simply helped explain the plot of a film. Rather, as with editing, he hoped that sound could be used "contrapuntally" with the visuals to make a thematic, political, or ideological assertion about a particular sequence.

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In fact, as the era of sound film drew to a close, filmmakers were able to convey their stories with a bare minimum of intertitles. Associate Professor of Music Education and Co-Editor of The Psychology of Music in Multimedia Scott Lipscomb discusses his research interests in movie soundtracks and the use of music in film to manipulate emotional responses.

What a privilege it was f or me to attend the World Science Festival The Art of the Score: The Mind, Music, and Moving Images, a co-presentation by World Science.

Sound in film can sometimes be seen as an afterthought; the final icing on the cake of a medium that is so visually driven. However, this is certainly not the case as many filmmakers and composers view music and sound as a much more integrated aspect of the film, one that can even play a huge role in the development of the drama as much as any visual element can.

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The sound of the film is one of the basic elements of the film medium. It makes the film from a purely visual media into a combination of vision and audition.

As the sound is an effective method to form a space image in human’s brain¼Œwe can use it to express and reveal the theme of the film.

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Claudia Gorbman is a film studies professor at the University of Washington, s: 6. The Grammy Award for Best Score Soundtrack for Visual Media is an honor presented to a composer or composers for an original score created for a film, TV show or series, video game, or other visual media at the Grammy Awards, a ceremony that was established in and originally called the Gramophone Awards.

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The Visual Music Film explores the concept and expression of musicality in the visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony.

The role of music has, in general, been neglected when analysing visual music textually. Broadens the perspective to all film music Nanette Nielsen, whose academic background is musicology and philosophy, has recently co-authored the book Music and Ethics with Marcel Cobussen.

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Effect of Sound on a Film Scene Sound and music in the cinematic context is an effective means of means of communication. Motion picture soundtrack, sound effects, background music, diegetic and non-diegetic sound can supplement, enhance and expand upon the meaning of the film’s narrative.

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About the Author Michel Chion is a composer of musique concrète, a filmmaker, an associate professor at the Université de Paris, and a prolific writer on film, sound, and books with Columbia University Press are The Voice in Cinema and Audio-Vision: Sound on Screen. Claudia Gorbman is a film studies professor at the University of Washington, Tacoma.

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The term “audio-visual” simply means that an item has both a sound (audio) and sight (visual) component. The audio, the visual, or both may be either live or pre-recorded.

They may be enhanced by the use of technologies to make them easier for a large audience to hear or see, or they may simply be presented “as is” to a small group. This chapterexplores graphical representations of film sequences and the importance of visual representations of film sound as a tool for film analysis.

It provides several historical examples that combine drawings or screen grabs with musical notation, including those by Sergei Eisenstein for his film Alexander Nevsky andClaudia Gorbman’s representation of the images and music used in.

For most of us, film is a singularly visual experience. It is our imagination come to life. For the better part of two hours (or three), we can suspend our disbelief about what happens outside the movie theater and just concentrate on the world before us, immerse ourselves in the story that wraps itself around the audience until we are completely enraptured, or moved to a bevy of emotions that.

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A Checklist for Using Music in Film or other Audio-Video Content This is the right to reproduce a specific recording of a song in your film or other audio-visual content.

You clear this right with the entity (usually the record label) that owns the specific recording you would like to use.

• Submit a synopsis of the film/media and the. Importance of Sound in Audio and Media Production. In the audio- and media production fields we often say that “audio is an afterthought”. And this is not simply a pessimistic opinion, rather a statement based on the facts that most people are visual learners, visual observers and believe that the auditory experience is much less important than the visual experience.

If you’re going to make short films, understanding how sound works is crucial. There are a number of ways that you can use sound and music in your narrative films. Actual Sound. Actual sounds are all the sounds that occur within the world of the film and can be heard by characters.

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