Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-06T02:39:47.910Z Has data issue: false hasContentIssue false

Sound Art (?) on/in Film

Published online by Cambridge University Press:  26 March 2009

Julio d’Escriván
Affiliation:
Department of Music and Performing Arts, Anglia Ruskin University, East Road, Cambridge, CB1 9JE, UK E-mail: julio.d’[email protected]

Abstract

The use of sound for representation and narrative may go beyond what we might conventionally term musical. Film has gradually brought into focus the practice of sound art as something distinct from music yet existing at the end of a unified continuum between abstraction and representation. Music has gradually been subsumed into the soundtrack as another element of the film sound world, and sound design is often on an equal footing with it. Sound designers are now increasingly exploring the more psychological (as opposed to merely representational) dimensions of sound.

Type
Research Article
Copyright
Copyright © Cambridge University Press 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Altman, Rick. 1992. The Material Heterogeneity of Recorded Sound. In Rick Altman (ed.) Sound Theory, Sound Practice. New York and London: Routledge.Google Scholar
Cage, John. 1973. Silence. London: Marion Boyars Publishers.Google Scholar
Chion, Michel. 1994. Audio-Vision: Sound on screen. New York: Columbia University Press.Google Scholar
Clair, R. 1929. The Art of Sound. In E. Weis (ed.) Film Sound: Theory and practice. New York: Columbia University Press.Google Scholar
Cook, Nicholas. 2001. Analysing Musical Multimedia. Oxford: Oxford University Press.Google Scholar
Davies, Hugh. Drawn Sound. In L. Macy (ed.) Grove Music Online. http://www.grovemusic.com (accessed 9 June 2007).Google Scholar
Davies, Rhys. 2004. The Frequency of Existence. In Chris Townsend (ed.) The Art of Bill Viola. London: Thames and Hudson.Google Scholar
Debackere, Boris. 2008. Programme notes to ‘Probe’. In programme of Sonic Acts XII: The Cinematic Experience. Amsterdam, The Netherlands, 21–24 February 2008.Google Scholar
Fischinger, Oskar. 1932. Sounding Ornaments. Originally published in Deutsche Allgemeine Zeitung. http://www.oskarfischinger.org/Sounding.htm (accessed on 1 August 2008).Google Scholar
Hammerton, J. 2006. Booklet notes. In Jean Painlevé, 1927–78 Science is Fiction/The Sounds of Science, the films of Jean Painlevé [DVD BFIVD719]. London: British Film Institute.Google Scholar
Hurwitz, Matt. 2006. A Scanner Darkly: Acoustic flavours enrich paranoiac score. http://mixonline.com/sound4picture/film_tv/audio_scanner_darkly (accessed on 1 August 2008).Google Scholar
Licht, Alan. 2007. Sound Art, Beyond Music, Between Categories. New York: Rizzoli.Google Scholar
Ondaatje, Michael. 2002. The Conversations: Walter Murch and the art of editing film. London: Bloomsbury Publishing.Google Scholar
Schaeffer, J. 1966. Traité des objets musicaux. Paris: Éditions du Seuil.Google Scholar
Schafer, R. Murray. 1973. The Music of the Environment. In Christoph Cox and Daniel Warner (eds.) Audio Culture, Readings in Modern Music. New York and London: Continuum, 2006.Google Scholar

FILMOGRAPHY

Cooper, M.C., Schoedsack, E.B. 1933. King Kong [DVD]. USA: RKO Radio Pictures.Google Scholar
Coppola, F.F. 1969. The Rain People [DVD]. USA: American Zoetrope.Google Scholar
Coppola, F.F. 1972. The Godfather [DVD]. USA: Paramount Pictures.Google Scholar
Coppola, F.F. 1974. The Conversation [DVD]. USA: American Zoetrope.Google Scholar
Coppola, F.F. 1979. Apocalypse Now [DVD]. USA: Zoetrope Studios.Google Scholar
Caro, M., Jeunet, J.P. 1992. Delicatessen [DVD]. France: Constellation.Google Scholar
Fischinger, O. 2006. Oskar Fischinger: Ten Films [DVD]. USA: Center for Visual Music.Google Scholar
Haskin, B. 1953. The War of the Worlds [DVD]. USA: Paramount Pictures.Google Scholar
Kagel, M. 1965. Antithèse [Internet Streaming Video]. http://www.ubu.com/film/kagel.html (accessed in July 2008).Google Scholar
Kagel, M. 1966. Match [Internet Streaming Video]. http://www.ubu.com/film/kagel.html (accessed in July 2008).Google Scholar
Kagel, M. 1967. Duo [Internet Streaming Video]. http://www.ubu.com/film/kagel.html (accessed in July 2008).Google Scholar
Kagel, M. 1969. Hallelujah [Internet Streaming Video]. http://www.ubu.com/film/kagel.html (accessed in July 2008).Google Scholar
Kobayashi, M. 1965. Kwaidan [DVD]. Japan: Bungei.Google Scholar
Kamler, P. 1970. Le Labyrinthe in Piotr Kamler: A la recherche du temps [DVD]. France: Aaa.Google Scholar
Lucas, G. 1977. Star Wars [DVD]. USA: Lucasfilm.Google Scholar
Lucas, G. 1971. THX 1138 [DVD]. USA: American Zoetrope.Google Scholar
Linklater, R. 2006. A Scanner Darkly [DVD]. USA: Warner Independent Movies.Google Scholar
Maetzig, K. 1962. First Spaceship On Venus (Silent Star) [DVD]. Germany: Deutsche Film (DEFA).Google Scholar
Mamoulian, R. 1931. Dr Jekyll and Mr Hyde [DVD]. USA: Paramount Pictures.Google Scholar
Painlevé, J. 1927. Amours de la pieuvre in Science is Fiction/The Sounds of Science, the films of Jean Painlevé [DVD]. London: British Film Institute.Google Scholar
Ruttmann, W. 1930. Wöchende [CD]. France: Metamkine.Google Scholar
Tarkovsky, A. 1972. Solaris [DVD]. London: Artificial Eye.Google Scholar
Tati, J. 1973. Playtime [DVD]. France: Jolly Film.Google Scholar
Wise, R. 1951. The Day the Earth Stood Still [DVD]. USA: Twentieth Century-Fox Film Corporation.Google Scholar
Wilcox, F. 1956. Forbidden Planet [DVD]. USA: Metro-Goldwyn-Mayer.Google Scholar