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II. Cinematic Soundscapes 1.Sound Theory Sound Practice
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Professor in Cinema and Comparative literature at University of Iowa Also written books on the musical film genre, and edited a book on sound theory and practice that we will read from later this semester. Rick Altman
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Sound Theory Sound Practice Edited by Rick Altman (1992) With essays by James Lastra, Michel Chion, and others
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Cinema as Text (Traditional Film Studies)
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Cinema as Event (Altman’s Model)
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From production to reception, and vice versa (think flying donuts!) Multiplicity Three-Dimensionality Materiality Heterogeneity Intersection Performance Mutli-Discursivity Instability CINEMA AS EVENT
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Mediation Choice Diffusion Interchange
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The production of sound is a material event: vibration, medium, changes in pressure – the composite nature of sound The sound narrative: naming of sound, “our ears tell us,” Rashomon phenomenon The recording of a sound event: representation, spatial signature, double (recording/reproduction) “…recordings are thus always representations, interpretations, partial narratives that must nevertheless serve as our only access to the sounds of the past” (p.27) SOUND AS EVENT
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Historical Ontological Reproduction Nominalism Cinema as index Fallacies In Film Sound Theory:
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Image scale vs. sound scale in film Problem of sound space in Hollywood, 3 main approaches: 1) manipulation of exhibition space, 2) manipulation of production, 3) development of multi-channel capacity Point of Audition Sound as anchor SOUND SPACE
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1.Multiple identities derived from pre-existing reality codes (theatre, vaudeville, radio, silent film music, etc.) 2.Jurisdictional struggle – speech is the primary vehicle 3.Development of new reality code based on technological specificity – point of audition and intelligibility; new mode of cinematic unity and new subject position for the Hollywood audience. A New Model for Technological History (Tripartite Historical Model):
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