Claudia Gorbman

Bio: Claudia Gorbman is an academic researcher from University of Washington. The author has contributed to research in topics: Narrative & Hollywood. The author has an hindex of 10, co-authored 20 publications receiving 2262 citations. Previous affiliations of Claudia Gorbman include Indiana University.

Audio-Vision: Sound on Screen

Abstract: The Audiovisual Contract Projections of Sound on Image The Three Listening Modes Beyond Sounds and Images Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations The Audiovisual Scene The Real and the Rendered Phantom Audio-Vision Sound Film--Worthy of the Name Television, Video Art, Music Video Toward an Audiologovisual Poetics Introduction to Audiovisual Analysis

The Voice in Cinema

Abstract: I. Mabuse: Magic and Powers of Acousmetre1. The Acousmetre2. The Silences of Mabuse3. The I-VoiceII. Tamaki: Tales of the Voice4. The Voice Connection5. The Screaming Point6. The Master of Voices7. The Mute Character's Final Words8. The Siren's SongIII. Norman Or The Impossible Anacousmetre9. The Voice that Seeks a Body10. The ConfessionEpilogue: Cinema's Voices of the 80's and 90's

Film, a Sound Art

Abstract: Preface to the English Edition Translator's Note Part I. History 1. When Film Was Deaf (1895-1927) 2. Chaplin-Three Steps into Speech 3. Birth of the Talkies or of Sound Film? (1927-1935) 4. Jean Vigo-The Material and the Ideal 5. The Ascendancy of King Text (1935-1950) 6. Babel 7. The Time It Takes for Time to "Harden" (1950-1975) 8. The Return of the Sensorial (1975-1990) 9. The Silence of the Loudspeakers (1990-2003) 10. On a Sequence from The Birds: Sound Film as Palimpsestic Art Part II. Aesthetics and Poetics 11. Jacques Tati, the Cow, and the Moo 12. The Disappointed Fairies Around the Cradle 13. The Separation 14. The Real and the Rendered 15. The Three Borders 16. Audiovisual Phrasing 17. Alfred Hitchcock: Seeing and Hearing 18. The Twelve Ears 19. Orson Welles: The Voice and the House 20. The Talking Machine 21. Faces and Speech 22. Andrei Tarkovsky: Language and the World 23. The Five Powers 24. God Is a Disc Jockey 25. Max Ophuls: Music, Noise, and Speech 26. Like Tears in Rain Glossary List of Illustrations Index

Audio-Vision: Sound on Screen

Abstract: The Audiovisual Contract Projections of Sound on Image The Three Listening Modes Beyond Sounds and Images Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations The Audiovisual Scene The Real and the Rendered Phantom Audio-Vision Sound Film--Worthy of the Name Television, Video Art, Music Video Toward an Audiologovisual Poetics Introduction to Audiovisual Analysis

Hearing Ordinary Voices: Cultural Studies, Vernacular Creativity and Digital Storytelling

Abstract: Everyday or amateur cultural and media production has long been a site of both optimism and contestation for cultural studies, but there is now more justification than ever to focus on it. On the o...

Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design

Abstract: A distinguishing feature of video games is their interactivity, and sound plays an important role in this: a player's actions can trigger dialogue, sound effects, ambient sound, and music. And yet game sound has been neglected in the growing literature on game studies. This book fills that gap, introducing readers to the many complex aspects of game audio, from its development in early games to theoretical discussions of immersion and realism. In Game Sound, Karen Collins draws on a range of sources--including composers, sound designers, voice-over actors and other industry professionals, Internet articles, fan sites, industry conferences, magazines, patent documents, and, of course, the games themselves--to offer a broad overview of the history, theory, and production practice of video game audio. Game Sound has two underlying themes: how and why games are different from or similar to film or other linear audiovisual media; and technology and the constraints it has placed on the production of game audio. Collins focuses first on the historical development of game audio, from penny arcades through the rise of home games and the recent rapid developments in the industry. She then examines the production process for a contemporary game at a large game company, discussing the roles of composers, sound designers, voice talent, and audio programmers; considers the growing presence of licensed intellectual property (particularly popular music and films) in games; and explores the function of audio in games in theoretical terms. Finally, she discusses the difficulties posed by nonlinearity and interactivity for the composer of game music.

Space-form and the acousmatic image

Abstract: The analytical discussion of acousmatic music can benefit from being based on spatial concepts, and this article aims to provide a framework for investigation. A personal experience of soundscape listening is the starting point, and uncovers basic ideas relating to the disposition and behaviour of sounding content, and listening strategy. This enables the opening out of the discussion to include source-bonded sounds in general, giving particular consideration to how experience of sense modes other than the aural are implicated in our understanding of space, and in acousmatic listening. Attention then shifts to a source-bonded spatial model based on the production of space by the gestural activity of music performance, prior to focusing in more detail on acousmatic music, initially by delving into spectral space, where ideas about gravitation and diagonal forces are germane. This leads to concepts central to the structuring of perspectival space in relation to the vantage point of the listener. The final section considers a methodology for space-form investigation.