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Beyond Dolby (Stereo)
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Since digital surround sound technology first appeared in cinemas 20 years ago, it has spread from theaters to homes and from movies to television, music, and video games. Yet even as 5.1 has become the standard for audiovisual media, its impact has gone unexamined. Drawing on works from the past two decades, as well as dozens of interviews with sound designers, mixers, and editors, Mark Kerins uncovers how 5.1 surround has affected not just sound design, but cinematography and editing as well. Beyond Dolby (Stereo) includes detailed analyses of Fight Club, The Matrix, Hairspray, Disturbia, The Rock, Saving Private Ryan, and Joy Ride, among other films, to illustrate the value of a truly audiovisual approach to cinema studies.

Table of Contents

  1. Cover
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  1. Contents
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  1. Acknowledgments
  2. pp. vii-ix
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  1. Introduction
  2. pp. 1-15
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  1. Part 1 Production and Style
  2. pp. 16-17
  1. 1. Cinema’s Hidden Multi-channel History and the Origins of Digital Surround
  2. pp. 19-52
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  1. 2. The Sound of 5.1: Aural Aesthetics
  2. pp. 53-83
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  1. 3. The Look of 5.1: Visual Aesthetics
  2. pp. 84-111
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  1. 4. Decoding the Digital Surround Style
  2. pp. 112-142
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  1. 5. Using the Digital Surround Style
  2. pp. 143-197
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  1. Part 2 Analysis
  2. pp. 198-199
  1. 6. Studying Multi-channel Soundtracks
  2. pp. 201-224
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  1. 7. Studying Image/Sound Interactions
  2. pp. 225-253
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  1. Part 3 Theory
  2. pp. 254-255
  1. 8. Body and Voice
  2. pp. 257-276
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  1. 9. Apparatus Theory
  2. pp. 277-298
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  1. 10. The Real and the Symbolic
  2. pp. 297-315
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  1. Conclusion: Media and Media Studiesin the Digital Surround Age
  2. pp. 316-328
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  1. Appendix A: Timeline of Common Sound Exhibition Formats
  2. pp. 329-330
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  1. Appendix B: Film Sound Personnel Cited
  2. pp. 331-334
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  1. Notes
  2. pp. 335-352
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  1. Bibliography
  2. pp. 353-362
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  1. Filmography
  2. pp. 363-366
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  1. Index
  2. pp. 367-378
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