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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 advent of sound technology but continues to function underneath and within later films. Expanding our appreciation of cinematic experiences ranging from Dolby multitrack in action films and the eerie tricycle of Stanley Kubrick's The Shining to the way actors from different nations use their voices and words, Film, A Sound Art showcases the vast knowledge and innovative thinking of a major theorist.
| ISBN | 023113777X | | Pages | 528 | | ISBN13 | 9780231137775
(What's this?) | | Volumes | 1 | | Publisher | Columbia University Press | | Weight (grammes) | 771 | | Imprint | Columbia University Press | | Published in | New York | | Format | Paperback | | Series title | Film and Culture Series | | Publication date | 22 Jun 2009 | | Height (mm) | 231 | | Translator | Claudia Gorbman, C. Jon Delogu | | Width (mm) | 155 | | Library of Congress | 2008054795 | | Spine width (mm) | 25 | | DEWEY | 791.43024 | | Academic level | General | | DEWEY edition | DC22 | |
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| Pt. 1 | | History | | | | Ch. 1 | | When Film Was Deaf (1895-1927) | | | | Ch. 2 | | Chaplin: Three Steps into Speech | | | | Ch. 3 | | Birth of the Talkies or of Sound Film? (1927-1935) | | | | Ch. 4 | | Jean Vigo: The Material and the Ideal | | | | Ch. 5 | | The Ascendancy of King Text (1935-1950) | | | | Ch. 6 | | Babel | | | | Ch. 7 | | The Time It Takes for Time to "Harden" (1950-1975) | | | | Ch. 8 | | The Return of the Sensorial (1975-1990) | | | | Ch. 9 | | The Silence of the Loudspeakers (1990-2003) | | | | Ch. 10 | | On a Sequence from The Birds: Sound Film as Palimpsestic Art | | | | Pt. 2 | | Aesthetics and Poetics | | | | Ch. 11 | | Jacques Tati: The Cow and the Moo | | | | Ch. 12 | | The Disappointed Fairies Around the Cradle | | | | Ch. 13 | | The Separation | | | | Ch. 14 | | The Real and the Rendered | | | | Ch. 15 | | The Three Borders | | | | Ch. 16 | | Audiovisual Phrasing | | | | Ch. 17 | | Alfred Hitchcock: Seeing and Hearing | | | | Ch. 18 | | The Twelve Ears | | | | Ch. 19 | | Orson Welles: The Voice and the House | | | | Ch. 20 | | The Talking Machine | | | | Ch. 21 | | Faces and Speech | | | | Ch. 22 | | Andrei Tarkovsky: Language and the World | | | | Ch. 23 | | The Five Powers | | | | Ch. 24 | | God Is a Disc Jockey | | | | | More... | | |
Michael Chion's books on film sound... have been revelotory syntheses of an expansive knowledge in elegant, accessible prose. -- Dell Tamblyn Film Comment 10/1/2009  Be the first to write a customer review
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