Making fictions sound real - On film sound, perceptual realism and genre
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Cites background from "Making fictions sound real - On fil..."
...The use of the "affective qualities" of sound may communicate "dramatic tone, atmosphere and mood" [9], whilst also describing the fictional world, giving it a "particular toning" [20]....
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6 citations
Cites background from "Making fictions sound real - On fil..."
...There is certainly no shortage of work concerning film, sound, and realism (Chion, 2009; Langkjaer, 2009; Metz, 1974)....
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...Conclusion This study has been my attempt at answering the call put forth by Lowood (2006), speaking at the merger of studies in the history of science and game studies: [Game studies] potential lies in critical engagement with games as symptoms of and impacts on society and culture—contextualization— but in ways that illuminate the structure of revolutions in design and game play....
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...shortage of work concerning film, sound, and realism (Chion, 2009; Langkjaer, 2009; Metz, 1974)....
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References
5,506 citations
"Making fictions sound real - On fil..." refers methods in this paper
...This also applies to speech perception as demonstrated by an experiment by McGurk and MacDonald (1976)....
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432 citations
"Making fictions sound real - On fil..." refers background in this paper
...…that for various reasons are considered to be better or more convincing than the original sound recording, just like the mix of sounds and their volume are regulated in ways that sound more like movies than reality (see Leeuwen, 1999, on the use of sound perspective in film and other media)....
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91 citations
"Making fictions sound real - On fil..." refers background in this paper
...In general, we are better equipped to assess sounds relatively than in absolute measurements, a fact of human perception and experience that also accounts for how we perceive differences in temperature, in light intensity etc. (Styles, 2005)....
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85 citations
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38 citations
"Making fictions sound real - On fil..." refers background in this paper
...(Altman, 1992, p. 62) Two things in this quote appear strange to me....
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...Rick Altman has described the norms for sound recording and mixing established in the early years of sound film as characterised by a non-match between visual and auditory space (Altman, 1992)....
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...Especially the use of the boom mike has a great influence on the smooth dialogue recording: “The uniform sound track has become the rule, unmatched to and independent of the image” (Altman, 1992, p. 57)....
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