Sound Design and Science Fiction / / William Whittington.
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 evolut...
Saved in:
Superior document: | Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
---|---|
VerfasserIn: | |
Place / Publishing House: | Austin : : University of Texas Press, , [2021] ©2007 |
Year of Publication: | 2021 |
Language: | English |
Online Access: | |
Physical Description: | 1 online resource (288 p.) |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
id |
9780292795112 |
---|---|
ctrlnum |
(DE-B1597)587018 (OCoLC)1286806006 |
collection |
bib_alma |
record_format |
marc |
spelling |
Whittington, William, author. aut http://id.loc.gov/vocabulary/relators/aut Sound Design and Science Fiction / William Whittington. Austin : University of Texas Press, [2021] ©2007 1 online resource (288 p.) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file PDF rda Frontmatter -- Contents -- Acknowledgments -- Introduction -- Part I. The Dawn of Sound Design -- Chapter 1. Sound Design -- chapter 2. Music and Speculation in 2001: A Space Odyssey -- Part II . Sound Montage -- Chapter 3. The Convergence of Hollywood and New Wave Science Fiction -- Chapter 4. Suggestive Fragments in THX 1138 -- Part III . Sound Designing -- Chapter 5. From Sound Capture to Construction -- Chapter 6. Surround Sound and Science Fiction -- Part IV. Sound Effects -- Chapter 7. Genre Splicing -- Chapter 8. Alien -- Part V. Voice Design -- Chapter 9. Blade Runners -- Part VI. Final Design -- Chapter 10. Sound Mixing and Sound Design in Science Fiction Cinema -- Chapter 11. Mixing Man and Machine in Terminator 2: Judgment Day -- Part VII . Conclusion: A Sounding of the Future -- Chapter 12. What is The Matrix? -- Appendix -- Notes -- Glossary -- Bibliography -- Filmography -- Index restricted access http://purl.org/coar/access_right/c_16ec online access with authorization star 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 evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking. Mode of access: Internet via World Wide Web. In English. Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022) Motion pictures Sound effects. Science fiction films. Sound motion pictures. Sound Recording and reproducing. PERFORMING ARTS / General. bisacsh Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 9783110745344 https://doi.org/10.7560/714304 https://www.degruyter.com/isbn/9780292795112 Cover https://www.degruyter.com/document/cover/isbn/9780292795112/original |
language |
English |
format |
eBook |
author |
Whittington, William, Whittington, William, |
spellingShingle |
Whittington, William, Whittington, William, Sound Design and Science Fiction / Frontmatter -- Contents -- Acknowledgments -- Introduction -- Part I. The Dawn of Sound Design -- Chapter 1. Sound Design -- chapter 2. Music and Speculation in 2001: A Space Odyssey -- Part II . Sound Montage -- Chapter 3. The Convergence of Hollywood and New Wave Science Fiction -- Chapter 4. Suggestive Fragments in THX 1138 -- Part III . Sound Designing -- Chapter 5. From Sound Capture to Construction -- Chapter 6. Surround Sound and Science Fiction -- Part IV. Sound Effects -- Chapter 7. Genre Splicing -- Chapter 8. Alien -- Part V. Voice Design -- Chapter 9. Blade Runners -- Part VI. Final Design -- Chapter 10. Sound Mixing and Sound Design in Science Fiction Cinema -- Chapter 11. Mixing Man and Machine in Terminator 2: Judgment Day -- Part VII . Conclusion: A Sounding of the Future -- Chapter 12. What is The Matrix? -- Appendix -- Notes -- Glossary -- Bibliography -- Filmography -- Index |
author_facet |
Whittington, William, Whittington, William, |
author_variant |
w w ww w w ww |
author_role |
VerfasserIn VerfasserIn |
author_sort |
Whittington, William, |
title |
Sound Design and Science Fiction / |
title_full |
Sound Design and Science Fiction / William Whittington. |
title_fullStr |
Sound Design and Science Fiction / William Whittington. |
title_full_unstemmed |
Sound Design and Science Fiction / William Whittington. |
title_auth |
Sound Design and Science Fiction / |
title_alt |
Frontmatter -- Contents -- Acknowledgments -- Introduction -- Part I. The Dawn of Sound Design -- Chapter 1. Sound Design -- chapter 2. Music and Speculation in 2001: A Space Odyssey -- Part II . Sound Montage -- Chapter 3. The Convergence of Hollywood and New Wave Science Fiction -- Chapter 4. Suggestive Fragments in THX 1138 -- Part III . Sound Designing -- Chapter 5. From Sound Capture to Construction -- Chapter 6. Surround Sound and Science Fiction -- Part IV. Sound Effects -- Chapter 7. Genre Splicing -- Chapter 8. Alien -- Part V. Voice Design -- Chapter 9. Blade Runners -- Part VI. Final Design -- Chapter 10. Sound Mixing and Sound Design in Science Fiction Cinema -- Chapter 11. Mixing Man and Machine in Terminator 2: Judgment Day -- Part VII . Conclusion: A Sounding of the Future -- Chapter 12. What is The Matrix? -- Appendix -- Notes -- Glossary -- Bibliography -- Filmography -- Index |
title_new |
Sound Design and Science Fiction / |
title_sort |
sound design and science fiction / |
publisher |
University of Texas Press, |
publishDate |
2021 |
physical |
1 online resource (288 p.) |
contents |
Frontmatter -- Contents -- Acknowledgments -- Introduction -- Part I. The Dawn of Sound Design -- Chapter 1. Sound Design -- chapter 2. Music and Speculation in 2001: A Space Odyssey -- Part II . Sound Montage -- Chapter 3. The Convergence of Hollywood and New Wave Science Fiction -- Chapter 4. Suggestive Fragments in THX 1138 -- Part III . Sound Designing -- Chapter 5. From Sound Capture to Construction -- Chapter 6. Surround Sound and Science Fiction -- Part IV. Sound Effects -- Chapter 7. Genre Splicing -- Chapter 8. Alien -- Part V. Voice Design -- Chapter 9. Blade Runners -- Part VI. Final Design -- Chapter 10. Sound Mixing and Sound Design in Science Fiction Cinema -- Chapter 11. Mixing Man and Machine in Terminator 2: Judgment Day -- Part VII . Conclusion: A Sounding of the Future -- Chapter 12. What is The Matrix? -- Appendix -- Notes -- Glossary -- Bibliography -- Filmography -- Index |
isbn |
9780292795112 9783110745344 |
callnumber-first |
T - Technology |
callnumber-subject |
TR - Photography |
callnumber-label |
TR897 |
callnumber-sort |
TR 3897 W47 42007EB |
url |
https://doi.org/10.7560/714304 https://www.degruyter.com/isbn/9780292795112 https://www.degruyter.com/document/cover/isbn/9780292795112/original |
illustrated |
Not Illustrated |
dewey-hundreds |
700 - Arts & recreation |
dewey-tens |
790 - Sports, games & entertainment |
dewey-ones |
791 - Public performances |
dewey-full |
791.4302/4 |
dewey-sort |
3791.4302 14 |
dewey-raw |
791.4302/4 |
dewey-search |
791.4302/4 |
doi_str_mv |
10.7560/714304 |
oclc_num |
1286806006 |
work_keys_str_mv |
AT whittingtonwilliam sounddesignandsciencefiction |
status_str |
n |
ids_txt_mv |
(DE-B1597)587018 (OCoLC)1286806006 |
carrierType_str_mv |
cr |
hierarchy_parent_title |
Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
is_hierarchy_title |
Sound Design and Science Fiction / |
container_title |
Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
_version_ |
1806143156302905344 |
fullrecord |
<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>05194nam a22006855i 4500</leader><controlfield tag="001">9780292795112</controlfield><controlfield tag="003">DE-B1597</controlfield><controlfield tag="005">20220426115627.0</controlfield><controlfield tag="006">m|||||o||d||||||||</controlfield><controlfield tag="007">cr || ||||||||</controlfield><controlfield tag="008">220426t20212007txu fo d z eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780292795112</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.7560/714304</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-B1597)587018</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1286806006</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-B1597</subfield><subfield code="b">eng</subfield><subfield code="c">DE-B1597</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="044" ind1=" " ind2=" "><subfield code="a">txu</subfield><subfield code="c">US-TX</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">TR897</subfield><subfield code="b">.W47 2007eb</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">PER000000</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="082" ind1="0" ind2="4"><subfield code="a">791.4302/4</subfield><subfield code="2">22</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Whittington, William, </subfield><subfield code="e">author.</subfield><subfield code="4">aut</subfield><subfield code="4">http://id.loc.gov/vocabulary/relators/aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Sound Design and Science Fiction /</subfield><subfield code="c">William Whittington.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Austin : </subfield><subfield code="b">University of Texas Press, </subfield><subfield code="c">[2021]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">©2007</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (288 p.)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="a">text file</subfield><subfield code="b">PDF</subfield><subfield code="2">rda</subfield></datafield><datafield tag="505" ind1="0" ind2="0"><subfield code="t">Frontmatter -- </subfield><subfield code="t">Contents -- </subfield><subfield code="t">Acknowledgments -- </subfield><subfield code="t">Introduction -- </subfield><subfield code="t">Part I. The Dawn of Sound Design -- </subfield><subfield code="t">Chapter 1. Sound Design -- </subfield><subfield code="t">chapter 2. Music and Speculation in 2001: A Space Odyssey -- </subfield><subfield code="t">Part II . Sound Montage -- </subfield><subfield code="t">Chapter 3. The Convergence of Hollywood and New Wave Science Fiction -- </subfield><subfield code="t">Chapter 4. Suggestive Fragments in THX 1138 -- </subfield><subfield code="t">Part III . Sound Designing -- </subfield><subfield code="t">Chapter 5. From Sound Capture to Construction -- </subfield><subfield code="t">Chapter 6. Surround Sound and Science Fiction -- </subfield><subfield code="t">Part IV. Sound Effects -- </subfield><subfield code="t">Chapter 7. Genre Splicing -- </subfield><subfield code="t">Chapter 8. Alien -- </subfield><subfield code="t">Part V. Voice Design -- </subfield><subfield code="t">Chapter 9. Blade Runners -- </subfield><subfield code="t">Part VI. Final Design -- </subfield><subfield code="t">Chapter 10. Sound Mixing and Sound Design in Science Fiction Cinema -- </subfield><subfield code="t">Chapter 11. Mixing Man and Machine in Terminator 2: Judgment Day -- </subfield><subfield code="t">Part VII . Conclusion: A Sounding of the Future -- </subfield><subfield code="t">Chapter 12. What is The Matrix? -- </subfield><subfield code="t">Appendix -- </subfield><subfield code="t">Notes -- </subfield><subfield code="t">Glossary -- </subfield><subfield code="t">Bibliography -- </subfield><subfield code="t">Filmography -- </subfield><subfield code="t">Index</subfield></datafield><datafield tag="506" ind1="0" ind2=" "><subfield code="a">restricted access</subfield><subfield code="u">http://purl.org/coar/access_right/c_16ec</subfield><subfield code="f">online access with authorization</subfield><subfield code="2">star</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">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 evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.</subfield></datafield><datafield tag="538" ind1=" " ind2=" "><subfield code="a">Mode of access: Internet via World Wide Web.</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Motion pictures</subfield><subfield code="x">Sound effects.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Science fiction films.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Sound motion pictures.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Sound</subfield><subfield code="x">Recording and reproducing.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / General.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">Title is part of eBook package:</subfield><subfield code="d">De Gruyter</subfield><subfield code="t">University of Texas Press eBook-Package Backlist 2000-2013</subfield><subfield code="z">9783110745344</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.7560/714304</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://www.degruyter.com/isbn/9780292795112</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="3">Cover</subfield><subfield code="u">https://www.degruyter.com/document/cover/isbn/9780292795112/original</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">978-3-11-074534-4 University of Texas Press eBook-Package Backlist 2000-2013</subfield><subfield code="c">2000</subfield><subfield code="d">2013</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_BACKALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_CL_MUAR</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_EBACKALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_EBKALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_ECL_MUAR</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_EEBKALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_ESSHALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_PPALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">EBA_SSHALL</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV-deGruyter-alles</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA11SSHE</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA13ENGE</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA17SSHEE</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">PDA5EBK</subfield></datafield></record></collection> |