語系:
繁體中文
English
說明(常見問題)
回圖書館首頁
手機版館藏查詢
登入
回首頁
切換:
標籤
|
MARC模式
|
ISBD
From splicing to dicing: Film sound ...
~
Ament-Gjenvick, Vanessa Theme.
FindBook
Google Book
Amazon
博客來
From splicing to dicing: Film sound design goes digital in the 1990s.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
From splicing to dicing: Film sound design goes digital in the 1990s./
作者:
Ament-Gjenvick, Vanessa Theme.
面頁冊數:
185 p.
附註:
Source: Dissertation Abstracts International, Volume: 76-02(E), Section: A.
Contained By:
Dissertation Abstracts International76-02A(E).
標題:
Film studies. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3637663
ISBN:
9781321206197
From splicing to dicing: Film sound design goes digital in the 1990s.
Ament-Gjenvick, Vanessa Theme.
From splicing to dicing: Film sound design goes digital in the 1990s.
- 185 p.
Source: Dissertation Abstracts International, Volume: 76-02(E), Section: A.
Thesis (Ph.D.)--Georgia State University, 2014.
This item must not be sold to any third party vendors.
The common perception that sound design is a subset of postproduction sound, and that most film sound professionals are more technicians than artists, is an assumption that leads to erroneous conclusions about the nature of film sound as a component of filmmaking. Specific sound designers have been elevated to celebrity status while other film sound professionals remain unknown. Additionally, the computerization of postproduction sound contributes to the misconception that these professionals are workstation operators who merely construct film soundtracks from sound libraries and/or elements designed by the main sound designer. In the 1990s, the initial transition from analogue to digital postproduction sound practices began in motion pictures. The three major American film sound communities---Hollywood, the San Francisco Bay Area, and New York---had developed unique approaches to sound design largely due to cultural, labor, and economic differences between the three cities. The three communities worked from different historical contexts, within different union regulations, and were subject to different economic structures. These differences predisposed the three geographical sound communities to different workflows and attitudes toward sound design. By examining three case studies of award-winning soundtracks from the three regions---Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)---it becomes clear that the three 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. Rather than define the 1990s as an era of technological determinism---which would be a superficial reading of the era-it is an era 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.
ISBN: 9781321206197Subjects--Topical Terms:
2122736
Film studies.
From splicing to dicing: Film sound design goes digital in the 1990s.
LDR
:03219nmm a2200325 4500
001
2061792
005
20151020075129.5
008
170521s2014 eng d
020
$a
9781321206197
035
$a
(MiAaPQ)AAI3637663
035
$a
AAI3637663
040
$a
MiAaPQ
$c
MiAaPQ
100
1
$a
Ament-Gjenvick, Vanessa Theme.
$3
3176106
245
1 0
$a
From splicing to dicing: Film sound design goes digital in the 1990s.
300
$a
185 p.
500
$a
Source: Dissertation Abstracts International, Volume: 76-02(E), Section: A.
500
$a
Adviser: Jack Boozer.
502
$a
Thesis (Ph.D.)--Georgia State University, 2014.
506
$a
This item must not be sold to any third party vendors.
506
$a
This item must not be added to any third party search indexes.
520
$a
The common perception that sound design is a subset of postproduction sound, and that most film sound professionals are more technicians than artists, is an assumption that leads to erroneous conclusions about the nature of film sound as a component of filmmaking. Specific sound designers have been elevated to celebrity status while other film sound professionals remain unknown. Additionally, the computerization of postproduction sound contributes to the misconception that these professionals are workstation operators who merely construct film soundtracks from sound libraries and/or elements designed by the main sound designer. In the 1990s, the initial transition from analogue to digital postproduction sound practices began in motion pictures. The three major American film sound communities---Hollywood, the San Francisco Bay Area, and New York---had developed unique approaches to sound design largely due to cultural, labor, and economic differences between the three cities. The three communities worked from different historical contexts, within different union regulations, and were subject to different economic structures. These differences predisposed the three geographical sound communities to different workflows and attitudes toward sound design. By examining three case studies of award-winning soundtracks from the three regions---Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)---it becomes clear that the three 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. Rather than define the 1990s as an era of technological determinism---which would be a superficial reading of the era-it is an era 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.
520
$a
INDEX WORDS: Sound studies, Production studies, Cultural studies, Film, Movies, Media.
590
$a
School code: 0079.
650
4
$a
Film studies.
$3
2122736
650
4
$a
Communication.
$3
524709
650
4
$a
Mass communication.
$3
2144804
690
$a
0900
690
$a
0459
690
$a
0708
710
2 0
$a
Georgia State University.
$b
Communication.
$3
3176107
773
0
$t
Dissertation Abstracts International
$g
76-02A(E).
790
$a
0079
791
$a
Ph.D.
792
$a
2014
793
$a
English
856
4 0
$u
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3637663
筆 0 讀者評論
館藏地:
全部
電子資源
出版年:
卷號:
館藏
1 筆 • 頁數 1 •
1
條碼號
典藏地名稱
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
W9294450
電子資源
11.線上閱覽_V
電子書
EB
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
評論
新增評論
分享你的心得
Export
取書館
處理中
...
變更密碼
登入