The auditory setting: environmental sounds in film and media arts
"The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or 'ambience'. Although this sonic backdrop acts as the acoustically mediated space...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2022]
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| Schriftenreihe: | Music and the moving image series
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | "The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or 'ambience'. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound's undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene."--Page 4 of cover |
| Beschreibung: | "First published in hardback by Edinburgh University Press 2021" - Rückseite der Titelseite |
| Beschreibung: | xi, 207 Seiten Illustrationen 24 cm |
| ISBN: | 9781474474399 |
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Datensatz im Suchindex
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| adam_text | CONTENTS List or Figures Acknowledgements viii ix PART 1: INTRODUCTION 1 The First Sound and the Curiosity 1.1 Foregrounding environmental sound 1.2 Mise-en-sonore 1.3 Ambient sound in films 1.4 Ambient sound in otheraudiovisual media arts 3 3 6 7 10 2 The Auditory Context and Signification 2.1 Film sound research 2.2 The audiovisual relationship 2.3 Sound studies 2.4 Film and media arts 2.5 The phenomenology of ambient sound 2.6 Digital aesthetics 14 14 17 18 19 20 23 Concepts and Definitions Diegetic sound Mimesis Presence Rendering Soundscape and the soundmark 26 26 28 29 31 32 3 Key 3.1 3.2 3.3 3.4 3.5
CONTENTS 4 Approach and Method 4.1 Historical overview 4.2 Ethnographic research 4.3 Personal inputs 4.4 Artistic research 4.5 Self-reflective analysis 4.6 Structure of the book 35 35 Յ6 38 38 39 40 PART 2: SONIC TRAJECTORIES 5 Monaural Soundtracks and Recording (Sonic) Reality 5.1 Mechanical and opticalrecordings, sound film and direct sound 5.2 The monaural aesthetics 5.3 Magnetic recording 5.4 Audiographic realism 5.5 Dubbing 45 6 Stereo Sound and the Expanded Space 6.1 Studio-centric sound 6.2 Hyper-real sound effects 6.3 Stereophonic space 6.4 Sounding media arts 59 59 60 62 64 7 Digital Surround Sound and the Mimetic Site 7.1 The state of the digital 7.2 Sync sound 7.3 Sound design and deconstruction of the soundtrack 7.4 Surround sound 7.5 Digital technology, field recording and multi-channel sound artworks 80 67 67 72 73 76 45 49 51 53 55 PART 3: ON LOCATION AND OTHER STORIES 8 Land, Field, Meadow 87 9 Forest, Jungle 92 10 Village, Rural Environment 11 Indoors 97 102 12 Riverbank, Beach, Island 112 13 Street, Public Squares, Urban Neighbourhood 119 14 Public Transport 131 vi
CONTENTS 15 Airport 155 16 Underwater, Outer Space 139 PART 4: CRITICAL LISTENING 17 Mapping the Aesthetic Choices in Sound Production 17.1 Listening through film and media arts 17.2 Locating models in sound production 17.3 Sonic mediation and expanding the notion of rendering 18 Auditory Presence and Better Practice 18.1 Comparative analysis: film sound/sound in media arts 18.2 Constraints of the sonic environment in film 18.3 Challenging best practice in film sound production 18.4 Tracing an emergent spatiality 18.5 Rethinking the concept of auditory presence in film and media arts 163 147 147 150 152 155 155 157 158 160 19 The God of Small Sounds 19.1 Anthropocenic listening 19.2 Environmental sounds lost 169 169 170 20 Emerging Trends and Future Directions 20.1 Post-digital sound and future listening 20.2 Post-immersion 20.3 Remoteness 175 175 178 183 Bibliography List of Works/Media Cited Index 187 198 202 Listening and viewing examples to support the text can be accessed via the QR code on the back cover or at https://budhaditya.org/projects/auditory-sctting/ vii
The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene. Budhaditya Chattopadhyay is an award winning media artist, researcher and writer, and holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University.
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| adam_txt |
CONTENTS List or Figures Acknowledgements viii ix PART 1: INTRODUCTION 1 The First Sound and the Curiosity 1.1 Foregrounding environmental sound 1.2 Mise-en-sonore 1.3 Ambient sound in films 1.4 Ambient sound in otheraudiovisual media arts 3 3 6 7 10 2 The Auditory Context and Signification 2.1 Film sound research 2.2 The audiovisual relationship 2.3 Sound studies 2.4 Film and media arts 2.5 The phenomenology of ambient sound 2.6 Digital aesthetics 14 14 17 18 19 20 23 Concepts and Definitions Diegetic sound Mimesis Presence Rendering Soundscape and the soundmark 26 26 28 29 31 32 3 Key 3.1 3.2 3.3 3.4 3.5
CONTENTS 4 Approach and Method 4.1 Historical overview 4.2 Ethnographic research 4.3 Personal inputs 4.4 Artistic research 4.5 Self-reflective analysis 4.6 Structure of the book 35 35 Յ6 38 38 39 40 PART 2: SONIC TRAJECTORIES 5 Monaural Soundtracks and Recording (Sonic) Reality 5.1 Mechanical and opticalrecordings, sound film and direct sound 5.2 The monaural aesthetics 5.3 Magnetic recording 5.4 Audiographic realism 5.5 Dubbing 45 6 Stereo Sound and the Expanded Space 6.1 Studio-centric sound 6.2 Hyper-real sound effects 6.3 Stereophonic space 6.4 Sounding media arts 59 59 60 62 64 7 Digital Surround Sound and the Mimetic Site 7.1 The state of the digital 7.2 Sync sound 7.3 Sound design and deconstruction of the soundtrack 7.4 Surround sound 7.5 Digital technology, field recording and multi-channel sound artworks 80 67 67 72 73 76 45 49 51 53 55 PART 3: ON LOCATION AND OTHER STORIES 8 Land, Field, Meadow 87 9 Forest, Jungle 92 10 Village, Rural Environment 11 Indoors 97 102 12 Riverbank, Beach, Island 112 13 Street, Public Squares, Urban Neighbourhood 119 14 Public Transport 131 vi
CONTENTS 15 Airport 155 16 Underwater, Outer Space 139 PART 4: CRITICAL LISTENING 17 Mapping the Aesthetic Choices in Sound Production 17.1 Listening through film and media arts 17.2 Locating models in sound production 17.3 Sonic mediation and expanding the notion of rendering 18 Auditory Presence and Better Practice 18.1 Comparative analysis: film sound/sound in media arts 18.2 Constraints of the sonic environment in film 18.3 Challenging best practice in film sound production 18.4 Tracing an emergent spatiality 18.5 Rethinking the concept of auditory presence in film and media arts 163 147 147 150 152 155 155 157 158 160 19 The God of Small Sounds 19.1 Anthropocenic listening 19.2 Environmental sounds lost 169 169 170 20 Emerging Trends and Future Directions 20.1 Post-digital sound and future listening 20.2 Post-immersion 20.3 Remoteness 175 175 178 183 Bibliography List of Works/Media Cited Index 187 198 202 Listening and viewing examples to support the text can be accessed via the QR code on the back cover or at https://budhaditya.org/projects/auditory-sctting/ vii
The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene. Budhaditya Chattopadhyay is an award winning media artist, researcher and writer, and holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. |
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| title | The auditory setting environmental sounds in film and media arts |
| title_auth | The auditory setting environmental sounds in film and media arts |
| title_exact_search | The auditory setting environmental sounds in film and media arts |
| title_exact_search_txtP | The auditory setting environmental sounds in film and media arts |
| title_full | The auditory setting environmental sounds in film and media arts Budhaditya Chattopadhyay |
| title_fullStr | The auditory setting environmental sounds in film and media arts Budhaditya Chattopadhyay |
| title_full_unstemmed | The auditory setting environmental sounds in film and media arts Budhaditya Chattopadhyay |
| title_short | The auditory setting |
| title_sort | the auditory setting environmental sounds in film and media arts |
| title_sub | environmental sounds in film and media arts |
| topic | Geräusch (DE-588)4129296-0 gnd Film (DE-588)4017102-4 gnd Lokalisation (DE-588)4195351-4 gnd |
| topic_facet | Geräusch Film Lokalisation |
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