Film Sound: Theory and Practice / Edition 1

Paperback (Print)
Buy New
Buy New from BN.com
$33.25
Used and New from Other Sellers
Used and New from Other Sellers
from $3.94
Usually ships in 1-2 business days
(Save 88%)
Other sellers (Paperback)
  • All (25) from $3.94   
  • New (5) from $26.98   
  • Used (20) from $3.93   

Overview

This classic anthology provides essential models for analyzing sound stylistics through the detailed study of critical sound films. Elisabeth Weis and John Belton carefully curate major essays from the world's most respected film historians, aestheticians, and theorists, including Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, René Clair, Béla Belázs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noël Burch, and Arthur Knight. Their selections recount the innovations and triumphs of Ernst Lubitsch, Fritz Lang, Orson Welles, Alfred Hitchcock, Rouben Mamoulian, Dziga Vertov, Robert Bresson, Jean-Luc Godard, Robert Altman, and Francis Ford Coppola, among many others, and explicate the techniques and practices of sound filmmaking from initial recordings to final theater playback. Film Sound is the ideal companion for anyone seeking both a comprehensive introduction to the form and a rich survey of its historical and global evolution.

Columbia University Press

This definitive treatment traces the increasing importance of sound in motion pictures describing the history, technology, and aesthetics of dialogue, sound effects and music in the movies.

Read More Show Less

Editorial Reviews

Framework
Both comprehensive in its choice of readings and creative in its editorial approach... Film Sound, as well as being an eminent introduction to the writings in the field, forcefully demonstrates the need for the study of the media to be both textually and institutionally grounded, and both theoretically and historically informed.

— Richard Allen

Journal of Popular Film and Television

Indispensable... [a] superb collection of essays.... An important contribution to our literature on film theory and practice and... necessary reading for anyone interested in the art and the practice of filmmaking.

Film Quarterly

Film Sound is a pleasure to read. In addition, the book's general organization and range of selections present an accurate summary of the development of film sound and attitudes toward it from the late twenties to the eighties. For anyone interested in finding ways out of the present theoretical confusion, Film Sound is an excellent place to start.

Sight and Sound

Convincingly suggests that an exciting new field has been opened up, one that may well come to determine the way we look at the cinema as a whole.... [ Film Sound] pays attention to the new technologies as they affect not only the cinema but also how we come to view its history.

Sight & Sound
Convincingly suggests that an exciting new field has been opened up, one that may well come to determine the way we look at the cinema as a whole.... [ Film Sound] pays attention to the new technologies as they affect not only the cinema but also how we come to view its history.
Gerald Mast

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...

Framework - Richard Allen

Both comprehensive in its choice of readings and creative in its editorial approach... Film Sound, as well as being an eminent introduction to the writings in the field, forcefully demonstrates the need for the study of the media to be both textually and institutionally grounded, and both theoretically and historically informed.

Read More Show Less

Product Details

  • ISBN-13: 9780231056373
  • Publisher: Columbia University Press
  • Publication date: 6/24/1985
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 462
  • Product dimensions: 5.89 (w) x 8.99 (h) x 1.15 (d)

Meet the Author

Elisabeth Weis is professor of film at Brooklyn College and the Graduate Center of the City University of New York and executive director of the National Society of Film Critics. She has written or edited books on sound, comedy, and star acting. John Belton is professor of English and film at Rutgers University and the author of five books, including Widescreen Cinema, winner of the Kraszna-Krausz prize for books on the moving image, and American Cinema/American Culture, a textbook accompanying the PBS series American Cinema. He has also edited three books, including Alfred Hitchcock's Rear Window, and is associate editor of the journal Film History.

Columbia University Press

Read More Show Less

Table of Contents

Part 1. History, Technology, and Aesthetics IntroductionThe Coming of Sound: Technological Change in the American Film Industry, by Douglas GomeryEconomic Struggle and Hollywood Imperialism: Europe Converts to Sound, by Douglas GomeryFilm Style and Technology in the Thirties: Sound, by Barry SaltThe Evolution of Sound Technology, by Rick AltmanIdeology and the Practice of Sound Editing and Mixing, by Mary Ann DoaneTechnology and Aesthetics of Film Sound, by John BeltonPart II: Theory Section 1: Classical Sound TheoryA Statement, by S. M. Eisenstein, V. I. Pudovkin, and G. V. AlexandrovAsynchronism as a Principle of Sound Film, by V. I. PudovkinThe Art of Sound, by René ClairManifesto: Dialogue on Sound, by Basil Wright and B. Vivian BraunSound in Films, by Alberto CavalcantiA New Laocoön: Artistic Composites and the Talking Film, by Rudolph ArnheimTheory of Film: Sound, by Bela BalazsDialogue and Sound, by Siegfried KracauerSlow-Motion Sound, by Jean EpsteinSection 2: Modern Sound TheoryNotes on Sound, by Robert BressonDirect Sound: An Interview with, by Jean-Marie Straub and Danièle HuilletAural Objects, by Christian MetzThe Voice in the Cinema: The Articulation of Body and Space, by Mary Ann DoanePart III: Practice Section I: Practice and MethodologyFundamental Aesthetics of Sound in the Cinema, by David Bordwell and Kristin ThompsonOn the Structural Use of Sound, by Noël BurchSection 2: PioneersThe Movies Learn to Talk: Ernst Lubitsch, René Clair, and Rouben Mamoulian, by Arthur KnightAmerican 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 FischerLang and Pabst: Paradigms for Early Sound Practice, by Noël CarrollThe Voice of Silence: Sound Style in John Stahl's Back Street, by Martin RubinSection 3: StylistsOrson Welle's Use of Sound, by Penny MintzThe Evolution of Hitchcock's Aural Style and Sound in The Birds, by Elisabeth WeisThe Sound Track of The Rules of the Game, by Michael LitleSound in Bresson's Mouchette, by Lindley HanlonGodard's Use of Sound, by Alan WilliamsSection 4: Contemporary InnovatorsAltman, Dolby, and the Second Sound Revolution, by Charles SchregerSound Mixing and Apocalypse Now: An Interview with Walter Murch, by Frank PaineThe Sound Designer, by Marc ManciniSound and Silence in Narrative and Nonnarrative Cinema, by Fred Camper

Columbia University Press

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)