Show simple item record

Files in this item

Thumbnail

Item metadata

dc.contributor.authorDonaldson, Lucy Fife
dc.contributor.editorMera, Miguel
dc.contributor.editorSadoff, Ron
dc.contributor.editorWinters, Ben
dc.date.accessioned2018-11-25T00:44:42Z
dc.date.available2018-11-25T00:44:42Z
dc.date.issued2017-05-25
dc.identifier246140570
dc.identifier4b285681-9061-4422-9d1b-514bc0ce11b5
dc.identifier85028568910
dc.identifier.citationDonaldson , L F 2017 , "You have to feel a sound for it to be effective" : sonic surfaces in film and television . in M Mera , R Sadoff & B Winters (eds) , The Routledge Companion to Screen Music and Sound . Routledge Taylor & Francis Group , London .en
dc.identifier.isbn9781138855342
dc.identifier.isbn9781315681047
dc.identifier.otherORCID: /0000-0002-4029-7465/work/61978890
dc.identifier.urihttps://hdl.handle.net/10023/16543
dc.description.abstractA significant concern in discussions of sound and music in film and television is the relationship between sound and image. The topic can range from the synchronisation of sound effect and action as achieved through foley work to the affective contribution of non-diegetic music, both of which contribute to the density of the fictional world we experience and respond to. Yet, unlike the image, sound is not a tangible phenomena, so what are we responding to and what do we feel? In order to address such questions about the material impact of sound to experiences of film and television, this essay will explore the affective materiality of sound through discussion of surface. If hearing itself is a tactile process, a result of interaction with surfaces (reflection and reverberation) (Altman, 1992: 21– 23), the correspondence between sound and image involves a number of relationships between surfaces. This might be most evident in sound design: the ensuring of surface heard matches surface seen (for example, a clipped hard thwack if someone in leather shoes crosses a polished wooden floor); a lack of reverberation accompanying sounds made in a cluttered room with soft furnishings. Moreover, sound design is a textured process creating a layered sound mix from multiple surfaces, the qualities of which contribute to the overall nature of their interrelationship. Although music is neither tangible, nor strictly representational, we can still discuss its surface, through the ways quality of sound is modified is through rhythm, harmony and pitch, and in reference to the surface qualities of instruments.
dc.format.extent320380
dc.language.isoeng
dc.publisherRoutledge Taylor & Francis Group
dc.relation.ispartofThe Routledge Companion to Screen Music and Sounden
dc.subjectFilm sounden
dc.subjectTelevision sounden
dc.subjectMusicen
dc.subjectSound effectsen
dc.subjectSound designen
dc.subjectSurfaceen
dc.subjectTextureen
dc.subjectPN1993 Motion Picturesen
dc.subject.lccPN1993en
dc.title"You have to feel a sound for it to be effective" : sonic surfaces in film and televisionen
dc.typeBook itemen
dc.contributor.institutionUniversity of St Andrews. Film Studiesen
dc.contributor.institutionUniversity of St Andrews. School of Philosophical, Anthropological and Film Studiesen
dc.date.embargoedUntil2018-11-25
dc.identifier.urlhttps://www.routledge.com/9781138855342en


This item appears in the following Collection(s)

Show simple item record