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Film, a sound art / by Michel Chion

Series: Film and culturePublisher: New York : Columbia University Press,, 2009Description: 536 p. ill. [chiefly b/w]; 25 cm001: 13087ISBN: 9780231137775; 023113777XSubject(s): Sound design | Motion pictures - history and criticism | Aesthetics | Sound recording and reproduction | Sound effectsDDC classification: 791.43024 CHI

Holdings
Item type	Current library	Collection	Call number	Copy number	Status	Date due	Barcode
Book	MAIN LIBRARY Book	PRINT	791.43024 CHI (Browse shelf(Opens below))	1	Checked out	18/12/2023	089975

Enhanced descriptions from Syndetics:

French critic and composer Michel Chion argues that watching movies is more than just a visual exercise--it enacts a process of audio-viewing . The audiovisual makes use of a wealth of tropes, devices, techniques, and effects that convert multiple sensations into image and sound, therefore rendering, instead of reproducing, the world through cinema.

The first half of Film, a Sound Art considers developments in technology, aesthetic trends, and individual artistic style that recast the history of film as the evolution of a truly audiovisual language. The second half explores the intersection of auditory and visual realms. With restless inventiveness, Chion develops a rhetoric that describes the effects of audio-visual combinations, forcing us to rethink sound film. He claims, for example, that the silent era (which he terms "deaf cinema") did not end with the advent of sound technology but continues to function underneath and within later films. Expanding our appreciation of cinematic experiences ranging from Dolby multitrack in action films and the eerie tricycle of Stanley Kubrick's The Shining to the way actors from different nations use their voices and words, Film, a Sound Art showcases the vast knowledge and innovative thinking of a major theorist.

Includes index

Table of contents provided by Syndetics

Preface to the English Edition (p. ix)
Translator's Note (p. xiii)
Part 1 History
Chapter 1 When Film Was Deaf (1895-1927) (p. 3)
Chapter 2 Chaplin: Three Steps into Speech (p. 21)
Chapter 3 Birth of the Talkies or of Sound Film? (1927-1935) (p. 31)
Chapter 4 Jean Vigo: The Material and the Ideal (p. 59)
Chapter 5 The Ascendancy of King Text (1935-1950) (p. 67)
Chapter 6 Babel (p. 85)
Chapter 7 The Time It Takes for Time to "Harden" (1950-1975) (p. 99)
Chapter 8 The Return of the Sensorial (1975-1990) (p. 117)
Chapter 9 The Silence of the Loudspeakers (1990-2003) (p. 147)
Chapter 10 On a Sequence from The Birds: Sound Film as Palimpsestic Art (p. 165)
Part 2 Aesthetics and Poetics
Chapter 11 Jacques Tati: The Cow and the Moo (p. 189)
Chapter 12 The Disappointed Fairies Around the Cradle (p. 201)
Chapter 13 The Separation (p. 221)
Chapter 14 The Real and the Rendered (p. 237)
Chapter 15 The Three Borders (p. 247)
Chapter 16 Audiovisual Phrasing (p. 263)
Chapter 17 Alfred Hitchcock: Seeing and Hearing (p. 281)
Chapter 18 The Twelve Ears (p. 289)
Chapter 19 Orson Welles: The Voice and the House (p. 321)
Chapter 20 The Talking Machine (p. 327)
Chapter 21 Faces and Speech (p. 353)
Chapter 22 Andrei Tarkovsky: Language and the World (p. 379)
Chapter 23 The Five Powers (p. 385)
Chapter 24 God Is a Disc Jockey (p. 407)
Chapter 25 Max Ophuls: Music, Noise, and Speech (p. 439)
Chapter 26 Like Tears in Rain (p. 453)
Glossary (p. 465)
List of Illustrations (p. 501)
Index (p. 507)

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