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Archaeology International
Architecture_MPS
Europe and the World: A law review
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The Palgrave Handbook of Sound Design and Music in Screen Media
Mad Sound and the Crystal-Image: The Soundtrack of Rivette’s L’Amour fou
other
Author(s):
Byron Almén
,
James Buhler
Publication date
(Online):
December 16 2016
Publisher:
Palgrave Macmillan UK
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Theory of Film Practice
Noel Burch
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Helen R. Lane
(1981)
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Listening to the French New Wave
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(2014)
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Jacques Rivette
Mary M. Wiles
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Book Chapter
Publication date (Print):
2016
Publication date (Online):
December 16 2016
Pages
: 197-212
DOI:
10.1057/978-1-137-51680-0_14
SO-VID:
03100eb1-fdc4-4aaa-b1a7-08f192221940
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Book chapters
pp. 1
Introduction
pp. 17
From Noise: Blurring the Boundaries of the Soundtrack
pp. 33
Interview 1: Sound Recording, Sound Design and Collaboration—An Interview with Ann Kroeber
pp. 43
Organizing Sound: Labour Organizations and Power Struggles that Helped Define Music and Sound in Hollywood
pp. 57
Mixing as a Hyperorchestration Tool
pp. 73
Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films
pp. 91
Towards 3-D Sound: Spatial Presence and the Space Vacuum
pp. 113
Inner and Outer Worlds in the Film Gravity: A Multidisciplinary Approach
pp. 123
Intertwining Music and Sound in Film
pp. 139
Interview 2: Reality and Representation—An Interview with Dario Marianelli
pp. 153
Sound Effects/Sound Affects: ‘Meaningful’ Noise in the Cinema
pp. 169
Listening to Violence: Point-of-Audition Sound, Aural Interpellation, and the Rupture of Hearing
pp. 183
Acoustic Disgust: Sound, Affect, and Cinematic Violence
pp. 197
Mad Sound and the Crystal-Image: The Soundtrack of Rivette’s L’Amour fou
pp. 213
The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound
pp. 229
Sound, Music and Memory in Jia Zhangke’s ‘Hometown Trilogy’
pp. 245
Vinyl Noise and Narrative in CD-Era Indiewood
pp. 261
Interview 3: Mixing Punk Rock, Classical, and New Sounds in Film Music—An Interview with Brian Reitzell
pp. 273
From Analogue to Digital: Synthesizers and Discourses of Film Sound in the 1980s
pp. 289
Unlearning Film School: The ‘lo-fi’ Soundtracks of Joe Swanberg
pp. 305
The Janus Project: Cristobal Tapia de Veer’s Utopia, Anempathetic Empathy and the Radicalization of Convention
pp. 321
Interview 4: Building Bridges: Sound Design as Collaboration, as Style and as Music in The Bridge—An Interview with Carl Edström
pp. 331
The Sound of an Android’s Soul: Music, MIDI and Muzak in Time Of Eve
pp. 347
The Sounds in the Machine: Hirokazu Tanaka’s Cybernetic Soundscape for Metroid
pp. 361
Redundancy and Information in Explanatory Voice-Ins and Voice-Offs
pp. 377
Interview 5: Under the Skin of Film Sound—An Interview with Johnnie Burn
pp. 387
Electroacoustic Composition and the British Documentary Tradition
pp. 403
Renegotiating the Overture: The Use of Sound and Music in the Opening Sequences of A Single Man and Shame
pp. 421
Interview 6: Orchestration, Collaboration, and the Integrated Soundtrack—An Interview with Matt Dunkley
pp. 429
Musically Conceived Sound Design, Musicalization of Speech and the Breakdown of Film Soundtrack Hierarchy
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