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Inhaltsangabe:Abstract: In this master thesis the author explores the development of sound design from beginning of sound film until now. The paper explains the vocabulary of sound techniques, standards and devices. It describes sound design in Hollywood films by outstanding examples from prominent sound designers. The thesis links the ... Inhaltsangabe:Abstract: In this master thesis the author explores the development of sound design from beginning of sound film until now. The paper explains the vocabulary of sound techniques, standards and devices. It describes sound design in Hollywood films by outstanding examples from prominent sound designers. The thesis links the achievement of the sound designers to the state of the art. The study depicts the interaction between technical possibilities and high demands of audiences. It gives insight into film sound history, explains the production process of film sound in detail and defines the work of a sound designer. Furthermore it contributes to the ongoing academic discussion of film sound, which was coined by researchers such as Chion, Flueckiger, Sonnenschein and Whittington. The author thoroughly analyzes key scenes by successful sound designers and illustrates with the use of examples such as King Kong (1933), Once Upon a Time in the West (1969), Terminator 2 (1991), Saving Private Ryan (1998), and King Kong (2005) amongst many others, the technical and aesthetical progress of sound design and its influence on contemporary Hollywood films. Inhaltsverzeichnis:Table of Contents: Abstract4 1.Introduction6 1.1.The Structure of This Report8 1.2.Research Method and Sources10 2.Sound Design for Film12 2.1.The Three Pillars of a Soundtrack12 2.2.Music13 2.2.1.The Leitmotif15 2.3.Dialogue19 2.4.SOUND ¿ Backgrounds, Noise and Sound Effects20 2.4.1.Backgrounds21 2.4.2.Noise21 2.4.3.Sound Effects ¿ Sound FX22 2.5.The Work of Sound Designers, Sound Editors and Film Makers22 2.6.Summary23 2.7.Sound Design ¿ Definition24 3.A Short History of Film Sound29 3.1.Early Film Sound29 3.2.Talkies - The First Movies with Dialogue30 3.3.Widescreen and Surround Sound vs. Television at Home32 3.4.The First Sound Designers33 3.5.The Digital Age - A new Era?37 4.The Production Steps39 4.1.Pre-production39 4.2.Production41 4.3.Post-Production42 4.4.Technical Developments and Their Impact45 5.The Power of Sound47 5.1.The Use of Sound as a Stylistic Tool47 5.2.How do we perceive Sound and Images?51 5.3.Silence52 5.3.1.a) Silence as symbol for death:55 5.3.2.b) Awkward feelings, unsolved conflicts, embarrassment56 5.3.3.c) Circus effect56 5.3.4.d) In connection with disorientation mainly for showdown59 5.3.5.Summary59 5.4.Counterpoint, Asynchronous Sound61 5.5.Synchresis64 5.6.Added value66 5.7.Diegetic and Non-diegetic Sounds67 6.Case study - Analyzing Key Scenes in Motion Pictures71 6.1.What to listen for72 6.2.Once Upon a Time in the West73 6.3.Terminator 2: Judgment Day75 6.4.Saving Private Ryan79 6.5.King Kong 1933 vs. King Kong 200582 7.Conclusion89 8.Bibliography94 9.Filmography100 Textprobe:Sound Design for Film: The Three Pillars of a Soundtrack: Today nearly every movie consists of three main attributes in the sound domain; Music, Dialogue and Sound Effects. Not all of them have always accompanied movies. In the time from the late 19th to the early 20th century movies did not have a synchronized soundtrack but were usually accompanied by a live orchestra or a piano player. A typical example for this is the slapstick movies by Charlie Chaplin. Already in 1888, Thomas Edison had the vision ¿to synchronize the camera and the phonograph so as to record sounds when the pictures were made, and reproduce the two in harmony¿. But it was not before 1928 when The Jazz Singer (USA 1927, Alan Crosland) introduced the era of the ¿talkies¿, the first movies with dialogue. Later in the same year Steamboat Willie (USA 1928, Walt Disney) premiered, a Disney movie with the first soundtrack that was completely added in post production which is discussed later in chapter 4.3 Post Production. Numerous technical inventions (radio, tape recorder, TV) and social developments (pop culture, Rock¿n¿Roll,) as well as ongoing criticism towards the ¿talking pictures¿ dominated the 20th century. Nowadays we expect every movie to have all of the three elements. There are plenty of people involved in the making of a soundtrack during all processes of production. To which extend filmmakers make use of sound designers, orchestras, sound editors and Foley artists and so on, is not only a question of, PDF, 05.09.2008.

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Inhaltsangabe:Abstract: In this master thesis the author explores the development of sound design from beginning of sound film until now. The paper explains the vocabulary of sound techniques, standards and devices. It describes sound design in Hollywood films by outstanding examples from prominent sound designers. The thesis links the ... Inhaltsangabe:Abstract: In this master thesis the author explores the development of sound design from beginning of sound film until now. The paper explains the vocabulary of sound techniques, standards and devices. It describes sound design in Hollywood films by outstanding examples from prominent sound designers. The thesis links the achievement of the sound designers to the state of the art. The study depicts the interaction between technical possibilities and high demands of audiences. It gives insight into film sound history, explains the production process of film sound in detail and defines the work of a sound designer. Furthermore it contributes to the ongoing academic discussion of film sound, which was coined by researchers such as Chion, Flueckiger, Sonnenschein and Whittington. The author thoroughly analyzes key scenes by successful sound designers and illustrates with the use of examples such as King Kong (1933), Once Upon a Time in the West (1969), Terminator 2 (1991), Saving Private Ryan (1998), and King Kong (2005) amongst many others, the technical and aesthetical progress of sound design and its influence on contemporary Hollywood films. Inhaltsverzeichnis:Table of Contents: Abstract4 1.Introduction6 1.1.The Structure of This Report8 1.2.Research Method and Sources10 2.Sound Design for Film12 2.1.The Three Pillars of a Soundtrack12 2.2.Music13 2.2.1.The Leitmotif15 2.3.Dialogue19 2.4.SOUND Backgrounds, Noise and Sound Effects20 2.4.1.Backgrounds21 2.4.2.Noise21 2.4.3.Sound Effects Sound FX22 2.5.The Work of Sound Designers, Sound Editors and Film Makers22 2.6.Summary23 2.7.Sound Design Definition24 3.A Short History of Film Sound29 3.1.Early Film Sound29 3.2.Talkies - The First Movies with Dialogue30 3.3.Widescreen and Surround Sound vs. Television at Home32 3.4.The First Sound Designers33 3.5.The Digital Age - A new Era?37 4.The Production Steps39 4.1.Pre-production39 4.2.Production41 4.3.Post-Production42 4.4.Technical Developments and Their Impact45 5.The Power of Sound47 5.1.The Use of Sound as a Stylistic Tool47 5.2.How do we perceive Sound and Images?51 5.3.Silence52 5.3.1.a) Silence as symbol for death:55 5.3.2.b) Awkward feelings, unsolved conflicts, embarrassment56 5.3.3.c) Circus effect56 5.3.4.d) In connection with disorientation mainly for showdown59 5.3.5.Summary59 5.4.Counterpoint, Asynchronous Sound61 5.5.Synchresis64 5.6.Added value66 5.7.Diegetic and Non-diegetic [], PDF, 05.09.2008.

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Sound Design ab 38 € als pdf eBook: The Development of Sound Design for Hollywood Films and its Impact on Modern Cinema. Aus dem Bereich: eBooks, Fachthemen & Wissenschaft, Sprachwissenschaften,.

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