Divergent tracks: how three film communities revolutionized digital film sound
"By examining three case studies of award-winning soundtracks from cult films-Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experie...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Bloomsbury Academic
2021
|
| Ausgabe: | First published |
| Schlagworte: | |
| Zusammenfassung: | "By examining three case studies of award-winning soundtracks from cult films-Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Vanessa Ament, author of The Foley Grail (2009), rather than defining the 1990s as an era of technological determinism-a superficial reading-it is best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work"-- |
| Beschreibung: | xiii, 159 Seiten Illustrationen 24 cm |
| ISBN: | 9781501359224 1501359223 |
Internformat
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| 245 | 1 | 0 | |a Divergent tracks |b how three film communities revolutionized digital film sound |c Vanessa Theme Ament |
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| 300 | |a xiii, 159 Seiten |b Illustrationen |c 24 cm | ||
| 336 | |b txt |2 rdacontent | ||
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| 338 | |b nc |2 rdacarrier | ||
| 505 | 8 | |a Introduction: sound design as creative and cultural artifact -- Geographical cultures and technological tendencies -- "Viscous was the word of the day": the interiority of Barton Fink -- "How would you like to work on a monster movie?": the expressionism of Bram Stoker's Dracula -- "The sound of the desert is a tape hiss": "a study in contrasts" in The English patient -- Conclusion: reassessing sound design as a collective endeavor -- Appendix A: Workflow diagram for Barton Fink -- Appendix B: Workflow diagram for Bram Stoker's Dracula -- Appendix C: Workflow diagram for The English patient -- Appendix D: Sound department credits | |
| 520 | 3 | |a "By examining three case studies of award-winning soundtracks from cult films-Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Vanessa Ament, author of The Foley Grail (2009), rather than defining the 1990s as an era of technological determinism-a superficial reading-it is best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work"-- | |
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| 653 | 0 | |a Sound motion pictures / History | |
| 653 | 0 | |a Sound / Recording and reproducing / History | |
| 653 | 0 | |a Motion pictures / Sound effects / History | |
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| 653 | 0 | |a Sound motion pictures | |
| 653 | 0 | |a Sound / Recording and reproducing | |
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Datensatz im Suchindex
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| author | Ament, Vanessa Theme 1955- |
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| author_role | aut |
| author_sort | Ament, Vanessa Theme 1955- |
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| bvnumber | BV047626293 |
| contents | Introduction: sound design as creative and cultural artifact -- Geographical cultures and technological tendencies -- "Viscous was the word of the day": the interiority of Barton Fink -- "How would you like to work on a monster movie?": the expressionism of Bram Stoker's Dracula -- "The sound of the desert is a tape hiss": "a study in contrasts" in The English patient -- Conclusion: reassessing sound design as a collective endeavor -- Appendix A: Workflow diagram for Barton Fink -- Appendix B: Workflow diagram for Bram Stoker's Dracula -- Appendix C: Workflow diagram for The English patient -- Appendix D: Sound department credits |
| ctrlnum | (DE-599)BVBBV047626293 |
| edition | First published |
| era | Geschichte 1990-1999 gnd |
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| id | DE-604.BV047626293 |
| illustrated | Illustrated |
| index_date | 2024-07-03T18:44:24Z |
| indexdate | 2024-07-10T09:17:34Z |
| institution | BVB |
| isbn | 9781501359224 1501359223 |
| language | English |
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| physical | xiii, 159 Seiten Illustrationen 24 cm |
| publishDate | 2021 |
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| publisher | Bloomsbury Academic |
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| spelling | Ament, Vanessa Theme 1955- Verfasser (DE-588)138551359 aut Divergent tracks how three film communities revolutionized digital film sound Vanessa Theme Ament First published New York Bloomsbury Academic 2021 xiii, 159 Seiten Illustrationen 24 cm txt rdacontent n rdamedia nc rdacarrier Introduction: sound design as creative and cultural artifact -- Geographical cultures and technological tendencies -- "Viscous was the word of the day": the interiority of Barton Fink -- "How would you like to work on a monster movie?": the expressionism of Bram Stoker's Dracula -- "The sound of the desert is a tape hiss": "a study in contrasts" in The English patient -- Conclusion: reassessing sound design as a collective endeavor -- Appendix A: Workflow diagram for Barton Fink -- Appendix B: Workflow diagram for Bram Stoker's Dracula -- Appendix C: Workflow diagram for The English patient -- Appendix D: Sound department credits "By examining three case studies of award-winning soundtracks from cult films-Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Vanessa Ament, author of The Foley Grail (2009), rather than defining the 1990s as an era of technological determinism-a superficial reading-it is best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work"-- Geschichte 1990-1999 gnd rswk-swf Filmvertonung (DE-588)4017148-6 gnd rswk-swf Digitalisierung (DE-588)4123065-6 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Sound motion pictures / History Sound / Recording and reproducing / History Motion pictures / Sound effects / History Motion pictures / Sound effects Sound motion pictures Sound / Recording and reproducing History USA (DE-588)4078704-7 g Filmvertonung (DE-588)4017148-6 s Digitalisierung (DE-588)4123065-6 s Geschichte 1990-1999 z DE-604 Erscheint auch als Online-Ausgabe 978-1-5013-5921-7 Erscheint auch als Online-Ausgabe, PDF 978-1-5013-5920-0 |
| spellingShingle | Ament, Vanessa Theme 1955- Divergent tracks how three film communities revolutionized digital film sound Introduction: sound design as creative and cultural artifact -- Geographical cultures and technological tendencies -- "Viscous was the word of the day": the interiority of Barton Fink -- "How would you like to work on a monster movie?": the expressionism of Bram Stoker's Dracula -- "The sound of the desert is a tape hiss": "a study in contrasts" in The English patient -- Conclusion: reassessing sound design as a collective endeavor -- Appendix A: Workflow diagram for Barton Fink -- Appendix B: Workflow diagram for Bram Stoker's Dracula -- Appendix C: Workflow diagram for The English patient -- Appendix D: Sound department credits Filmvertonung (DE-588)4017148-6 gnd Digitalisierung (DE-588)4123065-6 gnd |
| subject_GND | (DE-588)4017148-6 (DE-588)4123065-6 (DE-588)4078704-7 |
| title | Divergent tracks how three film communities revolutionized digital film sound |
| title_auth | Divergent tracks how three film communities revolutionized digital film sound |
| title_exact_search | Divergent tracks how three film communities revolutionized digital film sound |
| title_exact_search_txtP | Divergent tracks how three film communities revolutionized digital film sound |
| title_full | Divergent tracks how three film communities revolutionized digital film sound Vanessa Theme Ament |
| title_fullStr | Divergent tracks how three film communities revolutionized digital film sound Vanessa Theme Ament |
| title_full_unstemmed | Divergent tracks how three film communities revolutionized digital film sound Vanessa Theme Ament |
| title_short | Divergent tracks |
| title_sort | divergent tracks how three film communities revolutionized digital film sound |
| title_sub | how three film communities revolutionized digital film sound |
| topic | Filmvertonung (DE-588)4017148-6 gnd Digitalisierung (DE-588)4123065-6 gnd |
| topic_facet | Filmvertonung Digitalisierung USA |
| work_keys_str_mv | AT amentvanessatheme divergenttrackshowthreefilmcommunitiesrevolutionizeddigitalfilmsound |