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Learning Space dedicated to the Art and Analyses of Film Sound Design |
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FilmSound.org |
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REVOLUTIONIZING CINEMA: OR, HOW I PUT ROCK'N'ROLL IN THE MOVIES Referenced films: Performance, One Flew Over the Cuckoo's Nest, Cruising, Blue Collar, Starman, Cutter÷s Way, The Hot Spot, Indian Runner, The Crossing Guard Philip Brophy JACK NITZSHE IN MEMORIAM Vince Giarrusso, Fiona Eagger & Philip Brophy in conversation MALLBOY: A CASE STUDY OF SOUND AND MUSIC FOR AN AUSTRALIAN FEATURE Bruce Emery in conversation BEYOND THE MATRIX: DOLBY DIGITAL MULTICHANNEL SOUND NOW
MUSICAL MUTATIONS: BEFORE, BEYOND AND AGAINST HOLLYWOOD Referenced films: Same Old Song, Up Down Fragile, Pennies From Heaven (BBC TV & US film), Ally McBeal, Gentlemen Prefer Blondes, Une Femme Est Une Femme, Dancer In The Dark, The Hole, Pierre le fou, Les Demoiselles du Rochefort IAN PENMAN GARVEY÷S GHOST > K L A N G! < HEIDEGGER÷S GEIST Jeff Smith TAKING MUSIC SUPERVISORS SERIOUSLY Referenced films: The Graduate, Easy Rider; Midnight Cowboy, Saturday Night Fever, Roadie, The Ice Storm, 200 Cigarettes, Can't Hardly Wait, Ten Things I Hate About You, Singles, Forrest Gump, Waiting to Exhale, The Crow, Boys on the Side, Bulworth, Dazed and Confused, Batman Forever, Twister
REDEEMED BY LUDWIG VAN: STANLEY KUBRICK'S MUSICAL STRATEGY IN A CLOCKWORK ORANGE Referenced films: A Clockwork Orange, Paths of Glory, 2001: A Space Odyssey, Full Metal Jacket, Eyes Wide Shut Anahid
Kassabian
HEARING SILENT FILMS Referenced films: A House Divided, Hypocrites, Alias Jimmy Valentine, A Florida Enchantment, A Fool There Was, And The Light Went Out, The Children & The Major, Trooper Campbell, The Sick Stockrider Rebecca Coyle SPEAKING 'STRINE': LOCATING 'AUSTRALIA' IN FILM VOICE & SPEECH Referenced films: Walkabout, The Adventures of Barry McKenzie, the Mad Max trilogy [Mad Max, Mad Max Road Warrior, Mad Max Beyond Thunderdome], Crocodile Dundee, Muriel's Wedding, The Adventures of Priscilla Queen of the Desert, Kiss or Kill, Toyota car advertisement Philip Brophy FUNNY ACCENTS: THE SOUND OF RACISM Referenced films: Farinelli, Rock, Rock, Rock!, What's Up Tiger Lilly? [1966 d. Woody Allen from the original Kokusei Himitsu Keisatsu: Kagi No Kagi, 1964, d. Senkichi Tanaguchi]; Godzilla: King of Monsters [1956, d. Terry Morse from the original Gojira, 1954, d. Ishiro Honda]; The Queen of Blood [1966, d. Curtis Harrington from the original Niebo Zowiet, 1959, d. Aleksander Kozyr] Introduction to the book There is no subtlety in sound design these days. Movies are too loud these days. Too many pop songs destroy movies these days. There are no great film scores these days. 'These days' is an era wherein film sound is changing, yet audiences' reactions to those changes remain unacknowledged and uncharted. The heightened aural receptiveness of the audiences of today perfectly mirrors the reduced receptiveness film theory and criticism has accorded contemporary cinema, sprouting a rash of pap altruisms (referenced above) which lamely voice a conservative desire for a visual, literary art form they call 'the cinema'. Despite the long trail of silence which wheezes forth from sleeping academia's nostrils, the audience has been well and truly listening ever since the 80s' THX cinema trailers solemnly stated as such. This collection of articles speaks of what can be heard. From pop songs in Dazed & Confused to lush romanticism in The Mark of Zorro to Kubrick's use of Strauss in 2001: A Space Odessy; from American voices in Godzilla: King of Monsters to Australian accents in Priscilla: Queen of the Desert; from the glass harp in One Flew Over The Cuckoo's Nest to guitar feedback in Mallboy; from the fracture of song by Dennis Potter to the diffusion of song in dub music; from the sound of speech in silent movies to the space of speech in Dolby Digital. Thanks for this third Cinesonic volume are due as always to Adrian Martin for editorial advice and guidance, and Gerard Hayes for eagle-eyed proofing. Thanks also to Grahame Ramsay, AFTRS publishing, and to Rod Bishop, director of the AFTRS for ongoing support of the Cinesonic volumes. Finally, this volume is dedicated to the late Jack Nitzsche - with the hope that the many unsung film composers, score producers, sound designers and production mixers can be contacted, heard, and given due praise so as to uncover their oft-ignored contribution to this thing we sonically call 'the cinema'. © Philip Brophy 2001 | To Philip Brophy's website
For sales & distribution information contact Rosemary Ritchie This is a mirrorpage to http://cinesonic.rmit.edu.au/CNSNC01/C00bookcover.html
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