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French critic and composer Michel Chion argues that watching movies is more than just a visual exercise--it enacts a process of audio-viewing. The audiovisual makes use of a wealth of tropes, devices, techniques, and effects that convert multiple sensations into image and sound, therefore rendering, instead of reproducing, the world through cinema.
The first half of Film, a Sound Art considers developments in technology, aesthetic trends, and individual artistic style that recast the history of film as the evolution of a truly audiovisual language. The second half explores the intersection of auditory and visual realms. With restless inventiveness, Chion develops a rhetoric that describes the effects of audio-visual combinations, forcing us to rethink sound film. He claims, for example, that the silent era (which he terms 'deaf cinema') did not end with the adventFrench critic and composer Michel Chion argues that watching movies is more than just a visual exercise--it enacts a process of audio-viewing. The audiovisual makes use of a wealth of tropes, devices, techniques, and effects that convert multiple sensations into image and sound, therefore
Michel Chion's landmark Audio-Vision has exerted significant influence on our understanding of sound-image relations since its original publication in 1994. Chion argues that sound film qualitatively produces a new form of perception. Sound in audiovisual media does not merely complement images
Chionova kniha otevírá v oblasti filmových studií novou oblast: jestliže filmová teorie nahlíží svůj předmět zpravidla z hlediska vizuality, Chion situuje výchozí bod svých analýz do zvukového aspektu filmu. Uvažuje o potencialitě, kterou hlas ve filmu disponuje, a to zvláště
First published in French in 1998, revised in 2010, and appearing here in English for the first time, Michel Chion's Sound addresses the philosophical, interpretive, and practical questions that inform our encounters with sound. Chion considers how cultural institutions privilege some sounds above
Michel Chion's study of this film makes the case that it is one of Kubrick's masterpieces and a fitting testament. To appreciate this, though it is necessary to look at what happens on the screen without bringing preconceptions to
The first edition of Sound Art served as groundbreaking work toward defining this emerging field, and this fully updated volume continues the story to include current research since the book's initial release, viewed through a theory-based lens focusing strongly on sound studies. Sound art's roots
In 2012, Thomas Gardner and Salome Voegelin hosted a colloquium, entitled 'Music - Sound Art: Historical Continuum and Mimetic Fissures,' at the London College of Communication, University of the Arts London. This colloquium dealt with the current fervent debate concerning the relationship between
How can a voice whose source is never seen--such as Hal in '2001: A Space Odyssey' or the mother of Norman Bates in 'Psycho'--have such a powerful hold on an audience? When does 'synchronized sound' fail to link bodies to their voices, and how do such great stylists of sound film as Jacques Tati,
Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon LaBelle's book is informed by spatial thinking - weaving architecture,
Listening to Noise and Silence engages with the emerging practice of sound art and the concurrent development of a discourse and theory of sound. In this original and challenging work, Salom Voegelin immerses the reader in concepts of listening to sound artwork and the everyday acoustic
From Edison's invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic
After Sound considers contemporary art practices that reconceive music beyond the limitation of sound. This book is called After Sound because music and sound are, in Barrett's account, different entities. While musicology and sound art theory alike typically equate music with pure instrumental
Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design. This in-depth study by William Whittington considers the
Sound Design for Film offers an in-depth study of one of cinema's most powerful storytelling tools, exploring the creative landscape and proposing a variety of contemporary approaches to audio design. Opening up a hidden world of narrative techniques, experienced designer Tim Harrison provides key
Emphasising the artistry behind the decisions made by theatrical sound designers, this guide is for anyone seeking to understand the nature of sound and how to apply it to the stage. Through tried-and-tested advice and lessons in practical application, The Art of Theatrical Sound Design allows
Essays and images that map art's new sonic cosmos, illustrated in color throughout.This milestone volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established Sound Art as an artistic genre in its own
Sonic fiction is everywhere: in conversations about vernacular culture, in music videos, sound art compositions and on record sleeves, in everyday encounters with sonic experiences and in every single piece of writing about sound. Where one can find sounds one will also detect bits of fiction.In
Sound Theory/Sound Practice is divided into three major sections: Theoretical Perspectives, Historical Speculations, and Neglected Domains. The entire volume is marked by a revised understanding of cinema and particularly film sound. Individual essays cover such diverse topics as the conversion to
Chris Burton and Gary Thompson have compiled a fascinating collection of flyers advertising secret parties on the Bristol circuit in the 80s and conducted a series of interviews with the people behind the leading hip hop crews of the day. The result is a book that covers an area in Bristol's (and
Published on the occasion of the exhibition, Jean-Michel Basquiat: Art and Objecthood, at Nahmad Contemporary, this book will illuminate the role of found objects and unconventional materials in the Jean- Michel Basquiat’s oeuvre. Basquiat, whose artistic practice has profoundly impacted
The contributors to Remapping Sound Studies intervene in current trends and practices in sound studies by reorienting the field toward the global South. Attending to disparate aspects of sound in Africa, South and Southeast Asia, Latin America, the Middle East, Micronesia, and a Southern outpost in