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
This research establishes a link between the human experience of living in sound and the practice of...
This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 co...
Peter Cusack, Simon Elvins, Fédération Internationale des Chasseurs de Sons, Nikolaus Gansterer, Ste...
This book draws on the lived experience of sound’s capacity to move and shake us in direct, subtle a...
Explorations of the use of music and sound in documentary film have formed a major part of my resear...
This paper investigates documentary films in which real-world sound captured from the location shoot...
The Oxford Handbook of Cinematic Listening explores how “cinematic” and “listening” practices have s...
Documentary filmmaking has long been concerned with ‘voice’, a term used to spea...
Musical experience is often related to an emotional and imaginative engagement of the listener. Disc...
Film sound – ways of perceiving Sounds are everywhere: as noises, acoustic signals, music, ringing i...
Discussion of cinematic affect most typically attends to response, the impact of the film as we expe...
In the thesis "Just a sound" the author takes, methodically, a strategic and targeted reflexive appr...
This presentation will analyze an extract of A Film About Nice (2010), by Keith Marley and myself th...
This collection of fourteen essays provides a rich and detailed history of the relationship between ...
This introduction maps out the methodological and intellectual issues at stake in the study of “cine...
This research establishes a link between the human experience of living in sound and the practice of...
This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 co...
Peter Cusack, Simon Elvins, Fédération Internationale des Chasseurs de Sons, Nikolaus Gansterer, Ste...
This book draws on the lived experience of sound’s capacity to move and shake us in direct, subtle a...
Explorations of the use of music and sound in documentary film have formed a major part of my resear...
This paper investigates documentary films in which real-world sound captured from the location shoot...
The Oxford Handbook of Cinematic Listening explores how “cinematic” and “listening” practices have s...
Documentary filmmaking has long been concerned with ‘voice’, a term used to spea...
Musical experience is often related to an emotional and imaginative engagement of the listener. Disc...
Film sound – ways of perceiving Sounds are everywhere: as noises, acoustic signals, music, ringing i...
Discussion of cinematic affect most typically attends to response, the impact of the film as we expe...
In the thesis "Just a sound" the author takes, methodically, a strategic and targeted reflexive appr...
This presentation will analyze an extract of A Film About Nice (2010), by Keith Marley and myself th...
This collection of fourteen essays provides a rich and detailed history of the relationship between ...
This introduction maps out the methodological and intellectual issues at stake in the study of “cine...
This research establishes a link between the human experience of living in sound and the practice of...
This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 co...
Peter Cusack, Simon Elvins, Fédération Internationale des Chasseurs de Sons, Nikolaus Gansterer, Ste...