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Call No: 244.7(036) KEN
Author: Kent, Mike
Source: UK
Place: London
Publisher: Macmillan
PubDate: 1979
PhysDes: xv, 235 p. : ill ; 23 cm
Subject: SOUND; SOUND RECORDING; SOUND TRACKS; SOUND EDITING; COMMENTARY
Summary: Add Sound to Your Movies covers almost every aspect of the subject, from recording techniques and easy 'music-and-voice-over' to advanced track laying. [Taken from back cover.]
ISBN: 0333271262
Donation: donated by the family of Wayne Levy, 2006

Call No: 242 KER
Author: Kerner, Marvin M.
Place: Boston ; London
Publisher: Focal Press
PubDate: 1989
PhysDes: ix, 107 p. : ill. ; 24 cm.
Subject: SOUND EFFECTS; SOUND EDITING; SOUND; DIRTY HARRY (US, Don Siegel, 1971)
Summary: Begins with the history and purpose of sound effects in film and television but is primarily a technical guide to the creation, use, and organisation of effects. A critical case study is provided in the form of the film Dirty Harry.
Notes: Includes index.
ISBN: 0240800087

Call No: 634 CHI
Author: Chion, Michel, 1947; Gorbman, Claudia; Murch, Walter, 1943
Place: New York
Publisher: Columbia University Press
PubDate: 1994
PhysDes: xxvii, 239 p. : ill. ; 22 cm
Subject: SOUND; SOUND EDITING; SOUND RECORDING; SOUNDTRACKS
Summary: "In Audio-vision, the French composer-filmmaker-critic Michel Chion presents a reassessment of the audiovisual media since sound's revolutionary debut in 1927 and sheds light on the mutual influences of sound and image in audiovisual perception. Chion expands on the arguments from his influential trilogy on sound in cinema -- La voix au cinema, Le son au cinema, and La toile trouvee -- while providing an overview of the functions and aesthetics of sound in film and television. He considers the effects of evolving audiovisual technologies such as widescreen, multitrack sound, and Dolby stereo on audio-vision, influences of sound on the perception of space and time, and contemporary forms of audio-vision embodied in music videos, video art, and commercial television. His final chapter presents a model fo audiovisual analysis of film" -- Back cover
Notes: Includes bibliographical references p. ([225]-227) and index
ISBN: 0231078994 (pbk. : alk. paper); 0231078986 (alk. paper)
LON: 93023982; 10140132

PhysDes: Article
Subject: ATLAB; SOUND EDITING; SOUND EFFECTS; SOUND EQUIPMENT; TECHNOLOGY AND THE CINEMA
Summary: Article on the technological updates at Atlab Australia, particularly in their sound department.

Call No: 81 HAN WAL
Author: Walker, Elsie
Edition: 2018
Place: New York
Publisher: Oxford University Press
PubDate: 2018
PhysDes: x, 221 pages : illustrated ; 25 cm
Series: The Oxford music / media series
Subject: HANEKE, MICHAEL; SOUND; SOUND EDITING; SOUNDTRACKS
Summary: Michael Haneke's films subject us to extreme experiences of disturbance, desperation, grief, and violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and charged with aggressive dialogue. The sound tracks are even more traumatic to hear than his stories are to see, but they also offer us the transformative possibilities of reawakened sonic awareness. Haneke's use of sound redefines cinema in ways that can help us re-hear everything-including our own voices, and everything around us-better. Though Haneke's films make exceptional demands on us, he is among the most celebrated of living auteurs: he is two-time receipt of the Palme D'Or at Cannes Film Festival (for The White Ribbon (2009) and Amour (2012)), and Academy Award winner of Best Foreign Language Film (for Amour), along with numerous other awards. The radical confrontationality of his cinema makes him an internationally controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define this living legacy. This book explores the haunting, subversive, and political significance of all aural elements through Haneke's major feature films (dialogue, sound effects, silences, and music), all of which are meticulously conducted by him. Many critics read Haneke as coolly dispassionate about showing scenes of humanity under threat, but Hearing Haneke argues that all facets of his sound tracks stress humane understanding and the importance of compassion. This book provides exceptionally detailed analyses of all Haneke's most celebrated films: including The Seventh Continent, Funny Games, Code Unknown, The Piano Teacher, Caché, The White Ribbon, and Amour. The writing brings together film theory, musicology, history, and cultural studies in ways that resonate broadly. Hearing Haneke will matter to anyone who cares about the power of art to inspire progressive change. -- publisher's web site
ISBN: 9780190495916
Contents: Prelude: Why does hearing Haneke's films matter? -- 1. Introduction: Hearing Haneke through the critical ruckus -- 2. The Seventh Continent: the noises of consumerism, the music of something more -- 3. Funny Games: amplifying violence, the violators, and the victims -- 4. Code Unknown: sonically representing social divisions, diversity, and hope -- 5. The Piano Teacher: musical beauty without transcendence -- 6. Caché: the postcolonial resonance of silences and saying "nothing" -- 7. The White Ribbon: hearing Symbolic oppression and the Real in rebellion -- 8. Amour: the screams of life answered with love -- Works Cited -- Index

Call No: 634 LOW
Author: Beck, Jay (ed); Grajeda, Tony (ed)
Source: US
Place: Urbana
Publisher: University of Illinois Press
PubDate: c2008
PhysDes: x, 342 p. 24cm
Subject: SOUND; SOUND EDITING; SOUND EFFECTS
Summary: "As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambivalent noise affect identity formation and subjectivity. Lowering the Boom also analyses how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterised by a distinct break from the narratively based sound practices of mainstream cinema. This interdisciplinary, global approach to the theory and history of film sound opens the eyes and ears of film scholars, practioners, and students to film's true audio-vosual nature. " -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references (p. [307]-326) and index
ISBN: 9780252075322
Contents: Introduction. The future of film sound studies / Jay Beck and Tony Grajeda -- 1. The phenomenology of film sound : Robert Bresson's A man escaped / John Belton -- 2. The proxemics of the mediated voice / Arnt Maaso -- 3. Almost silent : the interplay of sound and silence in contemporary cinema and television / Paul Theberge -- 4. The sounds of "silence" : Dolby stereo, sound design, and The silence of the lambs / Jay Beck -- 5. Sonic imagination; or, film sound as a discursive construct in Czech culture of the transitional period / Petr Szczepanik -- 6. Sounds of the city : Alfred Newman's "street scene" and urban modernity / Matthew Malsky -- 7. Film and the Wagnerian aspiration : thoughts on sound design and the history of the senses / James Lastra -- 8. Asynchronous documentary : Bunuel's Land without bread / Barry Mauer -- 9. "We'll make a Paderewski of you yet!" : acoustic reflections in The 5,000 fingers of Dr. T / Nancy Newman -- 10. Paul Sharits's cinematics of sound / Melissa Ragona -- 11. "Every beautiful sound also creates an equally beautiful picture" : color music and Walt Disney's Fantasia / Clark Farmer -- 12. "A question of the ear" : listening to Touch of evil / Tony Grajeda -- 13. "Sound sacrifices" : the postmodern melodramas of World War II / Debra White-Stanley -- 14. Real fantasies : Connie Stevens, Silencio, and other sonic phenomena in Mulholland Drive / Robert Miklitsch -- 15. Selling spectacular sound : Dolby and the unheard history of technical trademarks / Paul Grainge -- 16. (S)lip-sync : punk rock narrative film and postmodern musical performance / David Laderman -- 17. Critical hearing and the lessons of Abbas Kiarostami's Close-up / David T. Johnson -- 18. Rethinking point of audition in The cell / Anahid Kassabian.

Author: Pearson, Georgina
PhysDes: Article
Subject: SOUND; SOUND EDITING; SOUND MIXING; SOUND RECORDING
Summary: Sound can completely change the feel and effect of a piece of content and plays a key part in creating atmosphere of what's on screen, whether it be for a film or television. In his article Pearson talks with sound designers and explores some of the processes involved in sound production.

Call No: 634 MUS
Author: Wierzbicki, James (ed.)
Source: US/UK
Place: New York : London
Publisher: Routledge
PubDate: 2012
PhysDes: xv, 210 p. : ill. ; 23 cm
Series: Routledge music and screen media series
Subject: DIRECTORS; FILM; FILM WORKERS; LYNCH, DAVID; MUSIC AND THE CINEMA; MUSIC IN FILMS; PRODUCERS; SOUND; SOUND EDITING; SOUND EFFECTS; SOUND RECORDING; ANDERSON, WES; BERGMAN, INGMAR; COEN, JOEL & ETHAN; GREENAWAY, PETER; KIESLOWSKI, KRZYSZTOF; KUBRICK, STANLEY; SELZNICK, DAVID O.; TARANTINO, QUENTIN; TARKOVSKY, ANDREI; VAN SANT, GUS
Summary: "Music, Sound and filmmakers: Sonic Style in Cinema examines the work of filmmakers whose concern is not just for the eye, but also for the ear. The bulk of the text focuses on the work of directors Wes Anderson, Ingmar Bergman, the Coen brothers, Peter Greenaway, Krzysztof Kieslowski, Stanley Kubrick, David Lynch, Quentin Tarantino, Andrey Tarkovsky and Gus Van Sant. Significantly, the anthology includes a discussion of films administratively controlled by such famously sound-conscious producers as David O. Selznick and Val Lewton. Written by the leading film music scholars from Europe, North America, and Australia, Music, Sound and Filmmakers: Sonic Style in Cinema will complement other volumes in Film Music Coursework, or stand on its own among a body of research. " -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 9780415898942
Contents: -- series foreword -- preface -- acknowledgments -- 1: sonic style in cinema / James Wierzbicki -- 2: Music, sound, and silence in the films of Ingmar Bergman / Per F. Broman -- 3: Andrey Tarkovsky : the refrain of the sonic fingerprint / Elizabeth Fairweather -- 4: "It's all really happening" : sonic shaping in the films of Wes Anderson / Ben Winters -- 5: Kieslowski's musique concre`te / Joseph G. Kickasola -- 6: Gus Van Sant's soundwalks and audio-visual musique concre`te / Danijela Kulezic-Wilson -- 7: Blowin' in the wind : music and meaning in the Coen Brothers' films / Matthew McDonald -- 8: Sound and uncertainty in the horror films of the Lewton Unit / Michael Lee -- 9: Conducting the composer : David O. Selznick and the Hollywood film score / Nathan Platte -- 10: The Stanley Kubrick experience : music, firecrackers, disorientation, and you / Kate McQuiston -- 11: The filmmaker's contract : controlling sonic space in the films of Peter Greenaway / Ian Sapiro -- 12: The attractions of repetition : Tarantino's sonic style / Lisa Coulthard -- 13: Dream timbre : notes on Lynchian sound design / Isabella van Elferen -- list of contributors -- bibliography -- index --

Call No: 634.6(94) SCR
Author: Coyle, Rebecca
CorpAuthor: Australian Film, Television and Radio School
Place: North Ryde, N.S.W.
Publisher: Australian Film, Television & Radio School
PubDate: 1998
PhysDes: 247 p. : ill., ports. ; 25 cm
Subject: MUSIC IN FILMS; SOUNDTRACKS; SOUND; SOUND EDITING; BROPHY, PHILIP; WEIR, PETER; SERIOUS, YAHOO; ARMIGER, MARTIN; MAD MAX [...] (AT, 1979-85); ROMPER STOMPER (AT, Geoffrey Wright, 1991); PIANO, THE (AT, Jane Campion, 1993); ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT, THE (AT, Stephan Elliott, 1994); MURIEL’S WEDDING (AT, P.J. Hogan, 1994); SHINE (AT/UK, Scott Hicks, 1996)
Summary: This volume provides a series of in-depth analyses of the ways in which contemporary Australian cinema has used music in its soundtracks. Individual chapters analyze films including "Shine", "The Piano", "Priscilla: Queen of the Desert", "Romper Stomper" and the "Mad Max" trilogy.
Notes: Includes discography of Australian feature film sound tracks; Includes bibliographies and index; Signed by author
ISBN: 1876351004 : $24.95
LON: abn97403192; 13568834
Contents: 1. Music and textual identity -- Creating a sonic character: non-diagetic sound in the Mad Max trilogy -- The violence of sound: Romper Stomper -- Emotional times: the music of The piano -- Avant-garde meets mainstream: the film scores of Philip Brophy -- 2. Musical associations -- Sound, cinema and Aboriginality -- Music and camp: popular music performance in Priscilla and Muriel's wedding -- Italo-Australian cinematic soundscapes -- Shine: musical narratives and narrative scores -- 3. Directors and film music -- Sound and author/auteurship: music in the films of Peter Weir -- Sonic semaphore: music in the films of Yahoo Serious -- Life in the bush: the orchestration of nature in Australian Animated feature films -- 4. Film industry -- Film music costs and copyright -- Screen composition in Australia: the work of Martin Armiger -- Music for film - a composer's view

Call No: 244 SOU
Author: Kalinak, Kathryn (ed.)
Source: US/UK
Place: London
Publisher: I.B. Tauris
PubDate: 2015
PhysDes: 222 pages : illustrations ; 24 cm
Series: Behind the silver screen ; 10
Subject: SOUND; SOUND EFFECTS; SOUND EDITING; SOUND RECORDING; SOUND TRACK; SOUNDTRACKS; MUSIC IN FILMS; MUSIC AND THE CINEMA; DIALOGUE; CINEMATOGRAPHY; HISTORY OF CINEMA; POST-PRODUCTION; PRODUCTION
Summary: "This innovative book highlights the workers who collaborated inside and outside Hollywood to produce dialogue, sound effects and music for motion pictures. It demonstrates the transformative powers of sound as they shape the specific ways in which film meaning is made." -- BOOK BACK COVER
Notes: Includes bibliographical references (pages 203-206) and index
ISBN: 9781784534059
Contents: -- Introduction / Kathryn Kalinak -- The silent screen, 1894-1927 / James Wierzbicki -- Classical Hollywood, 1928-1946 / Kathryn Kalinak -- Postwar Hollywood, 1947-1967 / Nathan Platte -- The auteur renaissance, 1968-1980 / Jeff Smith -- The new Hollywood, 1981-1999 / Jay Beck with Vanessa Theme Ament -- The modern entertainment marketplace, (2000-present) / Mark Kerins -- Academy Awards for sound -- Academy Awards for music -- notes -- glossary -- selected bibliography -- notes on contributors -- index --

Author: Shirley, Grammar
PhysDes: Article
Subject: MUSIC AND THE CINEMA; SOUND EDITING; AUSTRALIAN FILM AND TELEVISION SCHOOL; EDUCATION AND THE CINEMA
Summary: Interview with Canadian composer and music educator R. Murray Schafer on his film BING, BANG, BONG and his recent talk at the Australian Film and Television School.

Author: Prisk, Tracey
PhysDes: Article
Subject: ROMULUS, MY FATHER (AT, Richard Roxburgh, 2007); SOUND EDITING
Summary: An article about the use of sound in ROMULUS MY FATHER. Tracey Prisk talks with Rchard Roxburgh and Sam Petty, the sound designer.

Call No: 761 BAD
Author: Baddeley, Hugh W.
Edition: 4th rev. ed
Place: London
Publisher: Focal Press
PubDate: 1975
PhysDes: 282 p. : ill. ; 23 cm
Series: The library of communication techniques
Subject: BUDGETING; CAMERAS; CINEMATOGRAPHY; DISTRIBUTION; DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; FILMMAKING; INSURANCE, FILM; LIGHTING; LOCATION FINDING; LOCATION SHOOTING; MUSIC AND THE CINEMA; PRE-PRODUCTION; POST-PRODUCTION; PRODUCTION; PRODUCTION COSTS; SCRIPTWRITING; SOUNDTRACKS; SOUND EDITING; SOUND RECORDING
Summary: "Hugh Baddeley has carried out further revisions of this book since the last edition which he enlarged by nearly forty pages. He has taken into consideration the needs of television and the text now contains interviews with well-known TV producers and key TV personnel. It deals with every aspect of documentary and factual film production. Intended for the working professional, the trainee, and the student, amateurs too will find the breadth and scope of the subject stimulating. Nowadays when the film serves not merely as a tool of entertainment, but increasingly as a tool with a variety of eminently practical jobs to do, more people than ever before become involved with film production. Public relations officers, sales managers, television executives, those in charge of works film units, organisations using films for fund raising for charities, and members of expeditions will find here vital information. The means and methods of producing factual films are dealt with step-by-step from the initial idea to the making of release prints and their distribution. The typical problems of the "documentary" - shooting on distant and remote locations, as well as the difficulties of providing effective lighting outside the studio - are presented in practical terms. Sound recording, both under studio conditions and on location, is covered in detail. The techniques involved in laying and mixing multiple recordings to produce the final master track are described. Especially valuable are those practical suggestions that the author is able to offer from his own long personal experience. These range from budgeting and obtaining insurance cover to dealing with foreign customs." -- BOOK JACKET
Notes: First ed. published 1963; Includes index
ISBN: 0240509158; 0240509293 (pbk.)
LON: 8735625 8735625
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Call No: 244 SMI
Author: Smith, Jacob
Source: US
Place: Berkeley
Publisher: University of California Press
PubDate: c2008
PhysDes: viii, 294 p. : ill. ; 23 cm.
Subject: VOICES; SOUND; SOUND EDITING; SOUND EFFECTS; SOUND RECORDING
Summary: "This entertaining and innovative book focuses on vocal performance styles that developed in tandem with the sound technologies of the phonograph, radio, and film. Writing in a clear and lively manner, Jacob Smith looks at these media and their industries through the lens of performance, bringing to light a fascinating nexus of performer, technology and audience. Combining film aesthetics, cultural histories of technologies and industries, and theories of performance, Smith convincingly connects disparate and largely neglected niches to explore the development of a modern vocal performance. He analyzes an astoningshly diverse range of media texts - phonographic laughing records, broadcast laugh tracks, acting styles found in radio melodramas, singing styles heard on recordings of popular music, and secret recordings of prank phone calls - to illustrate how performance styles developed in response to technological mediation. " -- BOOK BLURB
Notes: "An Ahmanson book in the humanities"--P. [4] of cover; Includes bibliographical references (p. 271-286) and index
ISBN: 9780520254947
Contents: Pt. 1. Flooding Out -- 1. Recorded Laughter and the Performance of Authenticity -- 2. Erotic Performance on Record -- Pt. 2. A Finer Grain of the Voice -- 3. The Nearness of You; or, The Voice of Melodrama -- 4. Rough Mix -- Pt. 3. Bugging the Backstage -- 5. The Act of Being Yourself -- 6. Phony Performances.