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First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
List of contents
General Introduction: Cinema as Event 1. The Material Heterogeneity of Recorded Sound Part One: TheoreticalPerspectives Introduction: Four-and-a-half Film Fallacies 2. Sound Space Rick Altman 3. Reading, Writing, and Representing Sound Jim Lastra 4. She Sang Live, but the Microphone was Turned Off: The Live, the Recorded, and the Subject of Representation Steve Wurtzler 5. Wasted Words Michel Chion Part Two: Historical Speculations Introduction: Sound/History 6. [Conversion to Sound] AlanWilliams 7. Translating America: The Hollywood Multilinguals 1929-1933 Natasa Durovicova 8. 1950s Magnetic Sound: The Frozen Revolution John Belton Part Three: Neglected Domains Introduction: Sound's Dark Corners 9. Women's Voices in Third World Cinema AmyLawrence 10. The Sound of Early Warner Bros. Cartoons Scott Curtis 11. Imagining the Sound(s) of Shakespeare: Film Sound and Adaptation Mary Pat Klimek 12. Conventions of Sound in Documentary Jeff Ruoff 13. Let There Be Sound: The Films of Andrei Tarkovsky Andrea TruppinAfterword: A Baker's Dozen of New Terms for Sound Analysis Notes Works Cited
About the author
Rick Altman
Summary
Dramatically broadening the previous field of research on sound, Sound Theory/Sound Practice promises to renew the debate over the importance of sound to cinema, from a theoretical as well as a historical perspective.
