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PPN199143358 |
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http://www.sudoc.fr/199143358 |
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20240320154500.0 |
| 010 |
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|a 978-1-137-51679-4
|b rel.
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|a (OCoLC)948561359
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|a ocn973194338
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|a DKDLA850290-katalog:000064879
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|a 20170303h20162016k y0undy0103 ba
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|a eng
|2 639-2
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|a GB
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|a The Palgrave handbook of sound design and music in screen media
|e integrated soundtracks
|f Liz Greene, Danijela Kulezic-Wilson, Editors
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| 214 |
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|a London
|c Palgrave Macmillan
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|d C 2016
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| 215 |
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|a 1 vol. (xix-468 p.)
|c couv. ill.
|d 25 cm
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| 320 |
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|a Bibliogr. à la fin des contributions. Filmogr. p. 445-451. Index
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|b Part I : Boundaries and their disintegration
|c From noise : blurring the boundaries of the soundtrack / Liz Greene
|c Interview 1: Sound recording, sound design and collaboration : an interview with Ann Kroeber / Liz Green
|c Organizing sound : labourg organizations and power struggles that helped define music and sound in Hollywood / Gilanluca Sergi
|c Mixing as a hyperorchestration tool / Sergie Casanelles
|c Emotional sound effects and metal machine music : soundworlds in Silent Hill games and films / K.J. Donnelly
|b Part II : presence, immersion, space
|c Towards 3-D sound : spatial presence and the space vacuum / Miguel Mera
|c Inner and outer worlds in the film Gravity / Gilbert Gabriel & David Sonnenschein
|c Intertwining music and sound in film / Martine Huvenne
|c Interview 2 : Reality and representation : an interview with Dario Marianelli / Miguel Mera
|b Part III : Listening : affect and body
|c Sound effects/Sound affects : "Meaningful" noise in the cinema / James Wierzbicki
|c Listening to violence : point-of-audition sound, aural interpellation, and the rupture of hearing / Tony Grajeda
|c Acoustic disgust : sound, affect, and cinematic violence / Lisa Coulthard
|b Part IV : Time and memory
|c Mad sound and the crystal-image: the soundtrack of Rivette's L'Amour fou / Byron Almén and James Buhler
|c The sonic realm in The Quatermass experiment : medium and genre and sound / Robynn J. Stilwell
|c Sound, music and memory in Jia Zhangke's "Hometown trilogy" / Philippa Lovatt
|c Vinyl noise and narrative in CD-Era Indiewood / Ian Garwood
|c Interview 3: Mixing punk rock, classical, and new sounds in film music : an interview with Brian Reitzell / Meghan Joyce Tozer
|b Part V : Breaking conventions
|c From analogue to digital : synthesizers and discourses of film sound in the 1980's / Katherine Spring
|c Unlearning film school: the "lo-fi" soundtracks of Joe Swanberg / Nessa Johnston
|c The Janus project : Cristobal Tapia de Veer's Utopia, anempathetic empathy and the radicalization of convention / Annette Davidson and Nicholas Reyland
|c Interview 4: building bridges : sound design as collaboration, as style and as music in The bridge : An interview with Carl Edström / Annette Davidson and Martin Parker
|b Part VI : The sound of machines and non-humans
|c The sound of an android's soul : music, MIDI and muzak in Time of eve / Philip Brophy
|c The sounds in the machine : Hirokazu Tanaka's cybernetic soundscape for Metroid / William Gibbons
|c Redundancy and information in explanatory voice-ins and vocie-offs / Cormac Deane
|c Interview 5 : Under the skin of film sound : an interview with Johnnie Burn / John Hough
|b Part VII : the musicality of soundtrack
|c Electroacoustic composition and the british documentary tradition / Andy Birtwistle
|c Renegotiating the overture : the use of sound and music in the opening sequences of A single man and Shame / Adam Melvin.
|c Interview 6: Orchestration, collaboration, and the integrated soundtrack : an interview with Matt Dunkley / Ian Sapiro
|c Musically conceived sound design, musicalization of speech and the breakdown of film soundtrack hierarchy / Danijela Kulezic-Wilson
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Nantilus
