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The Auditory Setting: Environmental Sounds in Film and Media Arts PDF

226 Pages·2021·2.131 MB·English
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MUSIC & THE MOVING IMAGE Since the turn of the millennium, films such as C SerieSeditor: K. J. donnelly Chicago (2002) and Phantom of the Opera (2004) O have reinvigorated the popularity of the screen N ConteMPorAry MUSiCAl FilM musical.This edited collection, bringing together K. J.donnelly T Beth CArroll a number of international scholars, looks closely E at the range and scope of contemporary film M musicals – from stage adaptations like Mamma P This series explores the area of Mia! (2008) and Les Misérables (2012) to less O screen music. Volumes include conventional works that elide the genre, like R multimedia music, music and A television, and Hollywood film music. Team America: World Police (2004) and Quentin R Tarantino’s Kill Bill (2003–4). Y M Examining the varying aesthetic function of soundtrack and lyric in films such as Disney’s U wildly popular Frozen (2013) and the Fast & S I Furious franchise, or the self-reflexive commentary C of the ‘post-millennial rock musical’, this wide- A L ranging collection breaks new ground in its study F of this multifaceted genre. I L M K. J. Donnelly is a Reader in Film Studies and Beth Carroll is a Lecturer in Film Studies, both E at the University of Southampton. d i t e d b y K THE AUDITORY SETTING . J . D Environmental Sounds in Film and Media Arts o n n ISBN 978-1-4744-1312-1 e l ly Budhaditya Chattopadhyay & B e t h C a r r o edinburghuniversitypress.com l l Cover image: Mamma Mia!, Phyllide Lloyd, 2008 © Universal Studios/Photofest E d Cover design: Barrie Tullett i n b u MUSIC & THE MOVING IMAGE SERIES r g h CChhaattttooppaaddhhyyaayy __22..iinndddd 11 2266//0044//22002200 1111::4466 THE AUDITORY SETTING Music and the Moving Image Series Editors Kevin Donnelly, University of Wales Aberystwyth Beth Carroll, University of Southampton Titles in the series include: Film’s Musical Moments by Ian Conrich & Estella Tincknell (eds) Music and the Moving Image: A Reader by Kevin Donnelly (ed.) Music, Sound and Multimedia by Jamie Sexton (ed.) Music Video and the Politics of Representation by Diane Railton & Paul Watson Contemporary Musical Film by Kevin J. Donnelly and Beth Carroll (eds) British Music Video: Art, Commerce and Social Critique 1966–2016 by Emily Caston The Auditory Setting: Environmental Sounds in Film and Media Arts by Budhaditya Chattopadhyay www.edinburghuniversitypress.com/series/MAMI THE AUDITORY SETTING Environmental Sounds in Film and Media Arts Budhaditya Chattopadhyay Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Budhaditya Chattopadhyay, 2021 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5 Adobe Sabon by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 7438 2 (hardback) ISBN 978 1 4744 7440 5 (webready PDF) ISBN 978 1 4744 7441 2 (epub) The right of Budhaditya Chattopadhyay to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). CONTENTS List of Figures viii Acknowledgements ix PART 1: INTRODUCTION 1 The First Sound and the Curiosity 3 1.1 Foregrounding environmental sound 3 1.2 Mise-en-sonore 6 1.3 Ambient sound in films 7 1.4 Ambient sound in other audiovisual media arts 10 2 The Auditory Context and Signification 14 2.1 Film sound research 14 2.2 The audiovisual relationship 17 2.3 Sound studies 18 2.4 Film and media arts 19 2.5 The phenomenology of ambient sound 20 2.6 Digital aesthetics 23 3 Key Concepts and Definitions 26 3.1 Diegetic sound 26 3.2 Mimesis 28 3.3 Presence 29 3.4 Rendering 31 3.5 Soundscape and the soundmark 32 contents 4 Approach and Method 35 4.1 Historical overview 35 4.2 Ethnographic research 36 4.3 Personal inputs 38 4.4 Artistic research 38 4.5 Self-reflective analysis 39 4.6 Structure of the book 40 PART 2: SONIC TRAJECTORIES 5 Monaural Soundtracks and Recording (Sonic) Reality 45 5.1 Mechanical and optical recordings, sound film and direct sound 45 5.2 The monaural aesthetics 49 5.3 Magnetic recording 51 5.4 Audiographic realism 53 5.5 Dubbing 55 6 Stereo Sound and the Expanded Space 59 6.1 Studio-centric sound 59 6.2 Hyper-real sound effects 60 6.3 Stereophonic space 62 6.4 Sounding media arts 64 7 Digital Surround Sound and the Mimetic Site 67 7.1 The state of the digital 67 7.2 Sync sound 72 7.3 Sound design and deconstruction of the soundtrack 73 7.4 Surround sound 76 7.5 Digital technology, field recording and multi-channel sound artworks 80 PART 3: ON LOCATION AND OTHER STORIES 8 Land, Field, Meadow 87 9 Forest, Jungle 92 10 Village, Rural Environment 97 11 Indoors 102 12 Riverbank, Beach, Island 112 13 Street, Public Squares, Urban Neighbourhood 119 14 Public Transport 131 vi contents 15 Airport 135 16 Underwater, Outer Space 139 PART 4: CRITICAL LISTENING 17 Mapping the Aesthetic Choices in Sound Production 147 17.1 Listening through film and media arts 147 17.2 Locating models in sound production 150 17.3 Sonic mediation and expanding the notion of rendering 152 18 Auditory Presence and Better Practice 155 18.1 Comparative analysis: film sound/sound in media arts 155 18.2 Constraints of the sonic environment in film 157 18.3 Challenging best practice in film sound production 158 18.4 Tracing an emergent spatiality 160 18.5 Rethinking the concept of auditory presence in film and media arts 163 19 The God of Small Sounds 169 19.1 Anthropocenic listening 169 19.2 Environmental sounds lost 170 20 Emerging Trends and Future Directions 175 20.1 Post-digital sound and future listening 175 20.2 Post-immersion 178 20.3 Remoteness 183 Bibliography 187 List of Works/Media Cited 198 Index 202 Listening and viewing examples to support the text can be accessed via the QR code on the back cover or at https://budhaditya.org/projects/auditory-setting/ vii FIGURES 5.1 Direct recording outside of Melies Studio 44 6.1 Inside a sound studio 58 7.1 Digital sound recording on location 68 viii

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