In this Book

summary
This book draws on the lived experience of sound’s capacity to move and shake us in direct, subtle and profound ways through speech, location sound, and music in documentary film. The associative, connotative and sheer emotive power of sound has the capacity to move and shake us in a myriad of direct, subtle and often profound ways. The implications of this for its role as speech, location sound, and music in documentary film are far-reaching. The writers in this book draw on the lived experience of sound’s resounding capacity as primary motivation for exploring these implications, united by the overarching theme of how listening is connected with acts of making sense both on its own terms and in conjunction with viewing. The resulting thirteen essays of Soundings: Documentary Film and the Listening Experience cover films made from WWII to the present day in locations across Europe and the Americas, and in styles ranging from political propaganda, industrial promotion and educative exposition, to more aesthetically-driven films taking their bearings from avant-garde art. The authors draw on their experience in scholarly research, practice-as-research, and in the aesthetic and technical practice of documentary filmmaking. This mix of perspectives aims to widen and deepen the outlook of the recent and growing academic interest in the topic of documentary film sound.

Table of Contents

  1. Cover
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  1. Title Page
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  1. Copyright
  2. p. i
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  1. Introduction
  2. Geoffrey Cox
  3. pp. 1-12
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  1. Introduction Biography
  2. pp. 13-14
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  1. Part 1: The Promotional Imagination
  2. pp. 15-16
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  1. Chapter 1 Title Page
  2. p. 17
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  1. Chapter 1 Stories from a stay at the Arena Hotel
  2. Will L Finch
  3. pp. 18-33
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  1. Chapter 1 Bibliography
  2. pp. 34-36
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  1. Chapter 2 Title Page
  2. p. 37
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  1. Chapter 2 Bibliography
  2. pp. 66-68
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  1. Chapter 3 Title Page
  2. p. 69
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  1. Chapter 3 Sonicules - Designing drugs with sound: approaches to sound design for film, audiovisual performance and interactive sonification
  2. Radoslaw Rudnicki, Jude Brereton
  3. pp. 70-81
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  1. Chapter 3 Bibliography
  2. p. 82
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  1. Part 2: Foregrounding the Aesthetic: Strategies and Practices
  2. pp. 83-84
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  1. Chapter 4 Title Page
  2. p. 85
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  1. Chapter 4 Auralising Action Space: channelling a sense of play in documentary sound design
  2. Simon Connor
  3. pp. 86-103
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  1. Chapter 4 Bibliography
  2. pp. 104-106
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  1. Chapter 5 Title Page
  2. p. 107
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  1. Chapter 5 ‘The film looks like how Ornette sounds’: Shirley Clarke’s music documentary Ornette: Made in America
  2. Rosa Nogués
  3. pp. 108-121
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  1. Chapter 5 Bibliography
  2. pp. 122-124
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  1. Chapter 6 Title Page
  2. p. 125
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  1. Chapter 6 Progress Music
  2. James Bulley
  3. pp. 126-148
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  1. Chapter 6 Bibliography
  2. pp. 149-150
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  1. Chapter 7 Title Page
  2. p. 151
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  1. Chapter 7 Creative use of voice in non-fiction narrative film: an examination of the work of Peter Mettler
  2. Lars Koens, Demelza Kooij
  3. pp. 152-170
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  1. Chapter 7 Bibliography
  2. pp. 171-172
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  1. Chapter 8 Title Page
  2. p. 173
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  1. Chapter 8 Documentary film as a backdrop for active thinking
  2. Ana Berkenhoff
  3. pp. 174-180
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  1. Chapter 8 Bibliography
  2. pp. 181-182
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  1. Centrepiece Title Page
  2. p. 183
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  1. Centrepiece The Unwanted Sound of Everything We Think We Want
  2. Andrew Kötting
  3. pp. 184-200
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  1. Part 3: Nationhood and Conflict
  2. pp. 201-202
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  1. Chapter 9 Title Page
  2. p. 203
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  1. Chapter 9 The ‘Appassionata’ Sonata in A Diary for Timothy
  2. Tsung-Han Tsai
  3. pp. 204-216
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  1. Chapter 9 Bibliography
  2. pp. 217-218
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  1. Chapter 10 Title Page
  2. p. 219
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  1. Chapter 10 A ‘Symphony of Britain at War’ or the ‘Rhythm of Workaday Britain’? Len Lye’s When the Pie Was Opened (1941) and the musicalisation of warfare.
  2. Anita Jorge
  3. pp. 220-235
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  1. Chapter 10 Bibliography
  2. pp. 236-238
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  1. Chapter 11 Title Page
  2. p. 239
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  1. Chapter 11 Building a sonic image of a nation: Finnish documentary and propaganda films in the early decades of sound film
  2. Kaarina Kilpiö
  3. pp. 240-252
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  1. Chapter 11 Bibliography
  2. pp. 253-254
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  1. Chapter 12 Title Page
  2. p. 255
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  1. Chapter 12 Raúl Ruiz’s Now We’re Gonna Call You Brother and the problem of the people’s sonic representation
  2. Laura Jordán González, Nicolas Lema Habash
  3. pp. 256-274
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  1. Chapter 12 Bibliography
  2. pp. 275-278
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  1. Afterword
  2. John Corner
  3. pp. 279-284
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  1. Contributors
  2. pp. 285-289
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Additional Information

ISBN
9781862181540
Related ISBN
9781862181540
MARC Record
OCLC
1111952045
Launched on MUSE
2019-08-15
Language
English
Open Access
Yes
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