Auditory Setting
Environmental Sounds in Film and Media Arts
1st Edition
Published on 15. February 2021
224 pages
978-1-4744-7440-5 (ISBN)
Description
The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or 'ambience'. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound's undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.
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04/2021
Edinburgh University Press
€141.50
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Content
- Cover
- Half Title
- Series Page
- Title Page
- Copyright
- Contents
- List of Figures
- Acknowledgements
- Part 1: Introduction
- 1 The First Sound and the Curiosity
- 1.1 Foregrounding environmental sound
- 1.2 Mise-en-sonore
- 1.3 Ambient sound in films
- 1.4 Ambient sound in other audiovisual media arts
- 2 The Auditory Context and Signification
- 2.1 Film sound research
- 2.2 The audiovisual relationship
- 2.3 Sound studies
- 2.4 Film and media arts
- 2.5 The phenomenology of ambient sound
- 2.6 Digital aesthetics
- 3 Key Concepts and Definitions
- 3.1 Diegetic sound
- 3.2 Mimesis
- 3.3 Presence
- 3.4 Rendering
- 3.5 Soundscape and the soundmark
- 4 Approach and Method
- 4.1 Historical overview
- 4.2 Ethnographic research
- 4.3 Personal inputs
- 4.4 Artistic research
- 4.5 Self-reflective analysis
- 4.6 Structure of the book
- Part 2: Sonic Trajectories
- 5 Monaural Soundtracks and Recording (Sonic) Reality
- 5.1 Mechanical and optical recordings, sound film and direct sound
- 5.2 The monaural aesthetics
- 5.3 Magnetic recording
- 5.4 Audiographic realism
- 5.5 Dubbing
- 6 Stereo Sound and the Expanded Space
- 6.1 Studio-centric sound
- 6.2 Hyper-real sound effects
- 6.3 Stereophonic space
- 6.4 Sounding media arts
- 7 Digital Surround Sound and the Mimetic Site
- 7.1 The state of the digital
- 7.2 Sync sound
- 7.3 Sound design and deconstruction of the soundtrack
- 7.4 Surround sound
- 7.5 Digital technology, field recording and multi-channel sound artworks
- Part 3: On Location and other Stories
- 8 Land, Field, Meadow
- 9 Forest, Jungle
- 10 Village, Rural Environment
- 11 Indoors
- 12 Riverbank, Beach, Island
- 13 Street, Public Squares, Urban Neighbourhood
- 14 Public Transport
- 15 Airport
- 16 Underwater, Outer Space
- Part 4: Critical Listening
- 17 Mapping the Aesthetic Choices in Sound Production
- 17.1 Listening through film and media arts
- 17.2 Locating models in sound production
- 17.3 Sonic mediation and expanding the notion of rendering
- 18 Auditory Presence and Better Practice
- 18.1 Comparative analysis: film sound/sound in media arts
- 18.2 Constraints of the sonic environment in film
- 18.3 Challenging best practice in film sound production
- 18.4 Tracing an emergent spatiality
- 18.5 Rethinking the concept of auditory presence in film and media arts
- 19 The God of Small Sounds
- 19.1 Anthropocenic listening
- 19.2 Environmental sounds lost
- 20 Emerging Trends and Future Directions
- 20.1 Post-digital sound and future listening
- 20.2 Post-immersion
- 20.3 Remoteness
- Bibliography
- List of Works/Media Cited
- Index
