The Soundtrack最新文献

Spatial audio production for immersive media experiences: Perspectives on practice-led approaches to designing immersive audio content 沉浸式媒体体验的空间音频制作:设计沉浸式音频内容的实践导向方法的观点

The Soundtrack Pub Date : 2022-10-01 DOI: 10.1386/ts_00017_1

Daniel Turner, D. Murphy, C. Pike, C. Baume

引用次数: 1

Jean-Luc Godard’s Le mépris: Conventional film music in an unconventional guise 让-吕克·戈达尔拿起:传统电影音乐在一个非传统的幌子

The Soundtrack Pub Date : 2022-10-01 DOI: 10.1386/ts_00014_1

Michael Baumgartner

{"title":"Jean-Luc Godard’s Le mépris: Conventional film music in an unconventional guise","authors":"Michael Baumgartner","doi":"10.1386/ts_00014_1","DOIUrl":"https://doi.org/10.1386/ts_00014_1","url":null,"abstract":"Godard revisits in Le mépris (1963) the Hollywood genre of the melodrama which enjoyed a large popularity in the 1950s. For this self-conscious reflection upon the genre of the melodrama, Godard hired Georges Delerue to write the music. Due to the involvement of the powerful mainstream cinema producers Carlo Ponti and Joseph E. Levine, Le mépris grew into a sizeable Hollywood-style production. Under the looking glass of these producers, Godard was expected to abandon his eccentric small-film budget habits and to comply with standard film production procedure. Pertaining to the music (and against his usual modus operandi), he conceived, together with Delerue, a detailed musical concept, spotted the film with Delerue present, integrated each and every cue Delerue composed into the film and respected the placement of the music cues as discussed with the composer. Nevertheless, behind the back of his producers, he was frequently tempted to diverge from the accepted norms and played with audience expectations. He introduced unexpected twists into the placement of the cues, which invite the audio viewer to question the established film music standards. Despite the rigid brief Godard received from his producers, he managed to dissect – with the assistance of Delerue’s lush, Hollywood-style score – the worn-out mechanics of the cinematic apparatus. The over-emphatic, idiomatic and stereotypical symphonic score inspired him to break the illusion of the artificially staged narrative.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134237724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The ‘Truth of Sound’: Exploring the effects of an immersive location sound recording methodology within realist filmmaking “声音的真相”:探索现实主义电影制作中身临其境的录音方法的效果

The Soundtrack Pub Date : 2022-10-01 DOI: 10.1386/ts_00016_1

Steven Whitford

{"title":"The ‘Truth of Sound’: Exploring the effects of an immersive location sound recording methodology within realist filmmaking","authors":"Steven Whitford","doi":"10.1386/ts_00016_1","DOIUrl":"https://doi.org/10.1386/ts_00016_1","url":null,"abstract":"The art of location-based sound recording specifically has been a neglected area of academic research. I seek to address this by drawing critical attention to the intricacies and skills involved in location sound recording within realist filmmaking – both scripted and unscripted. I show how this art continues to be central to the creative process of production, in driving the narrative and shaping the text’s influence, within the pro-filmic space. I hypothesize that the realist sound recordist’s role has an authorial voice and a creative agency. I seek to reimagine and develop an ontological redefinition of location sound recording by proposing that a reinvigoration of the realist genre – unscripted in particular – can be achieved by connecting the storytelling skills in recording for single camera with the new opportunities afforded by the emerging technologies of immersive field sound recording – ambisonics being a vital part of that development. I argue that deploying an ambisonics-centred location sound recording methodology, fused with the existing art of recording actuality sound will offer new creative opportunities for realist makers and audiences, now presented with an exciting ability to experience a sense of the geographical place and physical event that immersive audio delivers.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127297529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Mouthing off: Contesting cinematic synchronization in digital music media 口是心非:数字音乐媒体中电影同步的竞争

The Soundtrack Pub Date : 2022-10-01 DOI: 10.1386/ts_00015_1

Tomer Nechushtan

引用次数: 1

Rainbow remixes: Cut and paste sound in the films of Len Lye 彩虹混音:Len Lye电影中的剪切和粘贴声音

The Soundtrack Pub Date : 2022-10-01 DOI: 10.1386/ts_00013_1

Suzy Mangion

引用次数: 0

A highly creative endeavour: Interview with musicologist and silent film pianist Martin Marks 极具创造性的努力:采访音乐学家和默片钢琴家马丁·马克斯

The Soundtrack Pub Date : 2020-11-01 DOI: 10.1386/ts_00012_7

Claus Tieber, A. Windisch

引用次数: 0

The singing film star in early French sound cinema 早期法国有声电影中的歌唱电影明星

The Soundtrack Pub Date : 2020-11-01 DOI: 10.1386/ts_00010_1

H. Lewis

{"title":"The singing film star in early French sound cinema","authors":"H. Lewis","doi":"10.1386/ts_00010_1","DOIUrl":"https://doi.org/10.1386/ts_00010_1","url":null,"abstract":"In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star’s stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130175582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Musical moments and numbers in Austrian silent cinema 奥地利无声电影中的音乐时刻和数字

The Soundtrack Pub Date : 2020-11-01 DOI: 10.1386/ts_00009_1

Claus Tieber, A. Windisch

{"title":"Musical moments and numbers in Austrian silent cinema","authors":"Claus Tieber, A. Windisch","doi":"10.1386/ts_00009_1","DOIUrl":"https://doi.org/10.1386/ts_00009_1","url":null,"abstract":"Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114462149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Dismissal and elevation: Mamoulian’s musical numbers and the early sound era 解散与提升:马穆连的音乐数字与早期声音时代

The Soundtrack Pub Date : 2020-11-01 DOI: 10.1386/ts_00011_1

Michael Slowik

引用次数: 0

Musical numbers in silent and early sound films 无声电影和早期有声电影中的音乐数字

The Soundtrack Pub Date : 2020-11-01 DOI: 10.1386/ts_00008_2

Claus Tieber, A. Windisch

引用次数: 0