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The Sound Handbook maps theoretical and practical connections between the creation and study of sound across the multi-media spectrum of film, radio, music, sound art, websites, animation and computer games entertainment, and stage theatre. Using an interdisciplinary approach Tim Crook explores the technologies, philosophies and cultural issues involved in making and experiencing sound, investigating soundscape debates and providing both intellectual and creative production information. The book covers the history, theory and practice of sound and includes practical production projects and a glossary of key terms. The Sound Handbook is supported by a companion website, signposted throughout the book, with further practical and theoretical resources dedicated to bridging the creation and study of sound across professional platforms and academic disciplines.

The representation of gender in film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound - music, voice, sound effects and silence - is used to represent gender. Taking a socio-historical approach, Heidi Wilkins investigates a range of popular US genres including screwball comedy, the road movie and chick flicks to explore the ways that film sound can reinforce traditional assumptions about masculinity and femininity, impart ambivalent meanings to them, or even challenge and subvert the notion of gender itself. Case studies include His Girl Friday, Easy Rider and Bridesmaids.

Auditory-evoked responses can be affected by the sound presented to the contralateral ear. The different contra-sound effects between noise and music stimuli on N1m responses of auditory-evoked fields and those on psychophysical response were examined in 12 and 15 subjects, respectively. In the magnetoencephalographic study, the stimulus to elicit the N1m response was a tone burst of 500 ms duration at a frequency of 250 Hz, presented at a level of 70 dB, and white noise filtered with high-pass filter at 2000 Hz and music stimuli filtered with high-pass filter at 2000 Hz were used as contralateral noise. The contralateral stimuli (noise or music) were presented in 10 dB steps from 80 dB to 30 dB. Subjects were instructed to focus their attention to the left ear and to press the response button each time they heard burst stimuli presented to the left ear. In the psychophysical study, the effects of contralateral sound presentation on the response time for detection of the probe sound of a 250 Hz tone burst presented at a level of 70 dB were examined for the same contra-noise and contra-music used in the magnetoencephalographic study. The amplitude reduction and latency delay of N1m caused by contra-music stimuli were significantly larger than those by contra-noise stimuli in bilateral hemisphere, even for low level of contra-music near the psychophysical threshold. Moreover, this larger suppressive effect induced by contra-music effects was also observed psychophysically; i.e., the change in response time for detection of the probe sound was significantly longer by adding contralateral music stimuli than by adding contra-noise stimuli. Regarding differences in effect between contra-music and contra-noise, differences in the degree of saliency may be responsible for their different abilities to disturb auditory attention to the probe sound, but further investigation is required to confirm this hypothesis.

Sound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably \"betrays\" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer's voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.

Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design. This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner(original version and director's cut),Terminator 2: Judgment DayandThe Matrixtrilogy and games--milestones of the entertainment industry's technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.

Previously titled Audio Post-production in Video and Film, this third edition has been completely revised and restructured to provide a step-by-step guide to the professional techniques used to shape a soundtrack through the production process. Covering sound for both film and television, this edition includes many of the practical techniques and shortcuts used by experienced editors and mixers. Part one explains the basics of audio post production - how audio is recorded, how sound and picture stay in sync, how audio can be exported from system to system, and how film and video technology works. Part two follows the path of production sound from its original recording right through to the final mix, and includes sections on editing sound with picture, dialogue, sound effects and music editing, how to run ADR and Foley record sessions, and mixing, using many practical examples.Audio Post Production for Television and Film is aimed at professionals already working in the industry, newcomers, students and those considering sound for film and television as a career - in fact anyone who wants an insight into current professional practices and a comprehensive overview of the sound post production process.

Provides a summary of current research results on the physiological and psychological effects of sound on people * Covers how the operation of the hearing mechanism affects our reactions to sounds * Includes research results from studies on noise sources of public concern such as transportation, public utility, and recreational sources, with emphasis on low frequency sound and infrasound * Covers sounds that affect some but not others, how sounds can be controlled on a practical level, and how and what sounds are regulated * Includes coverage of both positive and negative effects of sound

Hailed for its dramatic expressionist visuals, film noir is one of the most prominent genres in Hollywood cinema. Yet, despite the \"boom\" in sound studies, the role of sonic effects and source music in classic American noir has not received the attention it deserves.Siren Cityengagingly illustrates how sound tracks in 1940s film noir are often just as compelling as the genre's vaunted graphics.Focusing on a wide range of celebrated and less well known films and offering an introductory discussion of film sound, Robert Miklitsch mobilizes the notion of audiovisuality to investigate period sound technologies such as the radio and jukebox, phonograph and Dictaphone, popular American music such as \"hot\" black jazz, and \"big numbers\" featuring iconic performers such as Lauren Bacall, Veronica Lake, and Rita Hayworth.Siren Cityresonates with the sounds and source music of classic American noir-gunshots and sirens, swing riffs and canaries. Along with the proverbial private eye and femme fatale, these audiovisuals are central to the noir aesthetic and one important reason the genre reverberates with audiences around the world.

Practical Art of Motion Picture Sound, 4th edition relies on the professional experience of the author and other top sound craftspeople to provide a comprehensive explanation of film sound, including mixing, dubbing, workflow, budgeting, and digital audio techniques.

The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with film industry professionals, the standard processes of international film festivals were adopted by the project in order to challenge independent filmmakers to incorporate these sounds into short films in creative ways. Seven films covering a wide array of topics and genres (despite coming from the same sounds) were selected for screening at a special film festival out of 22 submissions. The works have subsequently been shown at numerous established film festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts on them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science.