Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, Aug. 2003. / Includes bibliographical references (p. 252-271). Also available on the Internet.

Thesis (M.A.) - Carleton University, 2005. / Includes bibliographical references (p. 121-129). Also available in electronic format on the Internet.

Thesis (Ph.D)--Murdoch University, 2007. / Thesis submitted to the Faculty of Creative Technologies and Media. Includes bibliographical references (leaves 334-354).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

In part three 'Women·Song and Dance-Vernacular' (chapter 5), I deploy film textual analysis, focused on one female image--the sing-song girl, and in this part, I try to identify the differences and similarities of soft film and Li's soft songs and dances. From the perspective of women and on the basis of comparison, I try to study the hybridity of Chinese vernacular in left-wing films. / In the first part 'Poems·Music·Vernacular' (chapters 1&2), I draw upon intermediary and interdisciplinary research methods, to analyse the interrelationship between Hu Shi's vernacular poems and Li Jinhui's popular songs. Focusing on Li Jinhui's musical practices from the May Fourth to the 1920s and the 1930s, I try to analyse and summarize the two key features of Chinese vernacular modernism: intertextuality and hybridity, characterised by the mixture of different cultures and discourses (including urban popular culture, intellectual high culture, official culture, traditional folk culture and so on), and the dialectical relations between body and sense and enlightenment and education ('Entertainment with Enlightenment', Yu Jiao Yu Le). / In the second part 'Vernacular·Songs·Sound films' consisting of two chapters (3&4) , I will analyse film magazines, such as Film Magazine (Yingxi zazhi), Movie Magazine (Dianying zazhi) and Modern Cinema (Xiandai dianying), film texts, such as Street Angel (Malu tianshi, Yuan Muzhi, 1937) The Big Road (Dalu, Sun Yu, 1934), Children of Trouble Time (fengyun er nuˇ, Xu Xingzhi, 1935), The New Year's Coin (Yasui qian, Xia Yan, 1937), etc., and I draw a picture of Chinese early cinema's vernacular scene, before and after the arrival of sound. Specifically, from the perspective of the musical tune and lyrics of film songs, I attempt to analyse the hybridity of Chinese vernacular embodied especially in left-wing films. / The dissertation has three main sections. / This dissertation is focused on analysing the film culture of Chinese early cinema from the perspective of sound, from 1930 to 1937. The theoretical development of this dissertation is based around the concept of vernacular modernism, proposed by Miriam Bratu Hansen and developed by Zhang Zhen. I will not simply borrow this theory but use it within a critical framework. I attempt to rethink its meanings in the Chinese context, and on this basis, I will propose a new account of early Chinese sound film's vernacular modern history. / 魏萍. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 262-267). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wei Ping.

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the Degree of Master of Music Johannesburg 2016 / Recently, scholarly work in the field of film sound design has emphasised the crucial significance of sound in film. Writers such as Mark Underwood (2008), Larry Sider (2003) and Danijela Kulezic-Wilson (2008) have expressed the view that film sound design ought to be approached from a musical perspective substantiating this position through analytical discussions on the relatively musical use of sound design in scenes from films such as Alfred Hitchcock’s The Birds (1963) and Darren Aronofsky’s Requiem for a Dream (2000). Building upon the work of these and other scholars, this thesis investigates the varying ways in which music and foley sound design relate and interact within a film seeking to categorise with some specificity the various ways in which foley sound design can ascend beyond its ordinary remit and in so doing function in lieu of film music as well as in cooperation with it. I consider examples from, amongst others, The Godfather, parts one (1972) and two (1974) by Francis Ford Coppola and The Matrix (1999) by Ana and Lana Wachowski. In each chapter of part one of the thesis (which I call Take 1), I explore a particular aspect of the way in which foley makes known its capacity to function quasi-musically. Chapter one looks at Walter Murch’s concept of the metaphoric use of sound and how, through this technique, foley sound can be applied so as to fulfil roles more accustomed to film music in its stead. Chapter two details some of the ways in which film music and foley interact within a film. A crucial element of this discussion is the on going debate between scholars such as Michel Chion who disavow the existence of a soundtrack and others such as Rick Altman who contradict Chion on this matter. Chapter three looks at how otherworldly diegetic contexts help to encourage creativity in designing and applying foley sounds so as to further enhance its pre-discussed ability to act in film music’s stead while chapter four focuses on the voice as the soloist within the melee of sounds that constitute the film soundtrack. Part two (or Take 2) of the thesis consists of compositions written in response to some of the theories and concepts explored in the first part of the thesis including a ‘dramatic string quartet’ in which I attempt to realise in a musical composition some of the ideas discussed in all four of the chapters. I conclude the thesis by reflecting on the main insights uncovered throughout the thesis in addition to reflecting on the process of composing the pieces in relation to the relative success of the performances thereof. / GR2017

Orientadores: Claudiney Rodrigues Carrasco, Eduardo Simões dos Santos Mendes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:35:33Z (GMT). No. of bitstreams: 1 PintonFilho_Nelson_D.pdf: 65846668 bytes, checksum: 970c3b3c5edef6766351e32b3bc7d1c1 (MD5) Previous issue date: 2014 / Resumo: Um olhar atento para os eventos que compõe a trilha sonora da Trilogia da Morte de Gus van Sant: Gerry (2002), Elephant (2003) e Last Days (2005). Os materiais sonoros são tratados como um aliado, auxiliando na construção narrativa. De maneira geral, incorporam músicas de paisagens sonoras, cujos fonogramas originais são combinados aos demais elementos da banda sonora, resultando numa mixagem particular e surpreendente que impacta na montagem fílmica, nos processos inerentes e complexos do tempo, nas tensões sonoras internas compostas de timbres e no resultado cognitivo para o espectador. Esta pesquisa auxilia na compreensão do processo de sound design, surgido em meados dos anos 70, e que se estabelece nos dias atuais como forma expressiva de tratar os sons nos filmes / Abstract: A closer look at the events that comprehend the soundtrack of Gus van Sant's Death Trilogy: Gerry (2002), Elephant (2003) and Last Days (2005). These films use the sound material as an ally, which helps the narrative construction. In general terms, they make use of pieces of soundscape music, the original phonograms are blended with other elements of the soundtrack, thus producing a new and surprising mix that impact in the film montage, e.g. the inherent and complex time, the inner sound tensions made of timbres and cognitive results in the audience. This research helps to understand the sound design process, which appeared in the mid 70¿s and establishes itself in the present days as an expressive form to treat sounds materials in movies / Doutorado / Multimeios / Doutor em Multimeios

No description available.

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T23:24:38Z (GMT). No. of bitstreams: 2 Leao_CarolinaMorgado_M.pdf: 2729435 bytes, checksum: 3cccc2782d27c4926dca0243044b2804 (MD5) Leao_CarolinaMorgado_M_Anexo.zip: 2581908598 bytes, checksum: 8acc1a686e30a6fa52cb27e0083ad192 (MD5) Previous issue date: 2013 / Resumo: Desde os primórdios do que entendemos hoje como cinema, já se fazia uso de intervenções sonoras. O acompanhamento musical era normalmente executado ao vivo, através de um pianista, um improvisador ou, as vezes, por uma pequena orquestra. Com o passar das décadas, o som para animação foi se transformando e assim, cada vez mais atrelou-se às imagens, se fundindo e unificando. Já na década de 1930, os desenhos animados formam um poderoso elo com a música, produzindo com isso, uma gama de cartoons musicados. Deste momento em diante, a trilha musical recebe a função de narrativa, sua articulação com a imagem cria um significado e possibilita a compreensão do espectador na história. A compreensão do som está associada ao acordo que existe entre o emissor e o espectador, quando este, em uma exibição, entra na sala para "ver-ouvir" uma história contada. O alicerce preeminente na projeção é a narrativa. Portanto, a trilha sonora, através do sincronismo, do seu uso de forma poética e também, através do uso de sons que de certa forma, já estão na memória de toda a sociedade ocidental, integra a articulação e a organização da narrativa na animação, compondo assim, um elemento de sua montagem. E desta maneira, a percepção fílmica é de fato audio-visual e permite numerosas combinações entre sons e imagens animadas / Abstract: Interventions with sounds are used since the beginning of what is known today as film. The music was performed live by a pianist, improviser or sometimes by a small orchestra. Over the decades, animation sound changed and became increasingly harnessed viii to the images, merging and unifying. Already in the 1930s, the cartoons are a powerful link with music, thus producing a range of cartoons set to music. From this moment on, the soundtrack gets the role of narrative, its articulation with the image creates meaning and allows the viewer to understand the story. Understanding of sound is associated with agreement that exists between the issuing and the spectator, when, in a view into the room to "see-hear" a story telling. The foundation is preeminent in projecting the narrative. Therefore, the soundtrack through the synchronization, the use of poetic form and also, through the use of sounds that somehow are already in the memory of all Western society integrates the speech and organization of narrative in animation, thus composing an element of its assembly. Sooner, the filmic perception is indeed audio-visual and allows numerous combinations of sounds and visual images / Mestrado / Fundamentos Teoricos / Mestra em Música

La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.<p>Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips). / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished