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Rethinking film for the digital soun...

Kerins, Mark.

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Rethinking film for the digital sound age.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Rethinking film for the digital sound age./
作者:	Kerins, Mark.
面頁冊數:	433 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 7000.
Contained By:	Dissertation Abstracts International67-01A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3200962
ISBN:	9780542486906

Rethinking film for the digital sound age.
Kerins, Mark.

Rethinking film for the digital sound age. - 433 p.

Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 7000.

Thesis (Ph.D.)--Northwestern University, 2005.

The advent of 5.1-channel digital surround sound has led to a new cinematic style, here dubbed the Digital Sound Film aesthetic, that employs unique visual and aural strategies to literally immerse the audience in the filmic environment. This project explores the historical motivations for the move to digital sound, the formal characteristics of the Digital Sound Film aesthetic, and the theoretical implications of this aesthetic.

ISBN: 9780542486906Subjects--Topical Terms:

854529
Cinema.

Rethinking film for the digital sound age.
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245 1 0 $a Rethinking film for the digital sound age.
300 $a 433 p.
500 $a Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 7000.
500 $a Adviser: Chuck Kleinhans.
502 $a Thesis (Ph.D.)--Northwestern University, 2005.
520 $a The advent of 5.1-channel digital surround sound has led to a new cinematic style, here dubbed the Digital Sound Film aesthetic, that employs unique visual and aural strategies to literally immerse the audience in the filmic environment. This project explores the historical motivations for the move to digital sound, the formal characteristics of the Digital Sound Film aesthetic, and the theoretical implications of this aesthetic.
520 $a Beginning with an overview of multi-channel sound, it examines a variety of soundtrack formats that appeared and disappeared over the years, considering the strengths and weaknesses of each format to determine why it succeeded or failed. After tracing this history up to Dolby Stereo, the format which digital sound would eventually replace, I consider the problems with Dolby Stereo, which shaped the technical specifications for the digital sound standard to follow.
520 $a From here, I examine the aural, visual, and narrative effects of the shift from Dolby Stereo to digital surround sound as the standard sound format for theatrical release. Drawing on theoretical writings, interviews with film sound professionals, and actual filmic examples, I show that a unique set of aesthetic traits typify films that exploit the capabilities of the digital soundtrack. These traits as a group form the Digital Sound Film aesthetic, a set of characteristics focused on pulling audiences into the space of a film rather than letting them watch it from "outside.".
520 $a Given this changed approach to filmmaking, it seems logical that films employing the Digital Sound Film aesthetic might function in a very different way than their predecessors; this project's final section, therefore, tackles the relationship of these films to film analysis and theory. Ultimately, it determines that many long-standing theories and methods are currently incapable of analyzing these films. These critical tools therefore must be rethought and modified to productively be applied to films using digital sound. The study concludes by first suggesting ways in which major theoretical devices and concepts, such as textual analysis and psychoanalytic theory, might be modified, then providing concrete examples of how these modified theories can provide insights into today's cinema.
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