Sound and Epistemology in Film
01 Sep 1989-The Journal of Aesthetics and Art Criticism (Oxford University Press (OUP))-Vol. 47, Iss: 4, pp 311-324
About: This article is published in The Journal of Aesthetics and Art Criticism.The article was published on 1989-09-01. It has received 32 citations till now. The article focuses on the topics: Sound (geography).
25 Sep 2017
17 Apr 2014
TL;DR: In this paper, the preservation and presentation practices of early sound systems, as well as the presentation of film sound in the spaces provided by film heritage institutions, are analyzed to bring different dimensions of film sounds to the fore, such as material, human, technological, institutional, experiential, and memorial dimensions.
Abstract: What is the nature of film sound? How does it change through time? How can film sound be conceptually defined? To address these issues, this work assumes the perspective of film preservation and presentation practices, describing the preservation of early sound systems, as well as the presentation of film sound in the spaces provided by film heritage institutions. The preservation and presentation practices analyzed bring different dimensions of film sound to the fore, such as its material, human, technological, institutional, experiential, and memorial dimensions. The definition of film sound is constructed around the concepts of material form, trace, and performance, which explain its transitory nature and its many facets.
28 Feb 2017
TL;DR: In this article, the authors present an audio-visual thesis, consisting of a 62,000-word thesis and two documentary film artefacts (forty-five and forty-eight minutes, respectively) and propose the adoption of a spectatorship-based approach to film practice.
Abstract: The research is presented as an audio-visual thesis, consisting of a 62,000-word thesis and two documentary film artefacts (forty-five and forty-eight minutes, respectively) The equal ratio of theory and practice symbiotically combines the background research, written analysis and practical experimentation The portrayal of blind people in Western media largely conforms to stereotypical representations that oscillate between two poles: either as unfortunate, disabled and deprived, or exotic, mysterious and in touch with the supernatural This ‘othering’ of blindness in documentaries is the symptom and partial cause of socio-cultural stigmatisation and ‘ableist’ hegemony Challenging this hegemony, the thesis proposes the adoption of a spectatorship-based approach to film practice It first identifies a range of stereotypes in mainstream documentaries, revealing the overwhelming use of formulaic narratives that foreground either tragic or heroic, goal-oriented plot trajectories, and stylistic devices that objectify blind characters These insights frame the making of my own documentary films about two blind people The aim is the mediation of everyday experience from the characters’ own perspective, with the result that the spectator experiences them as ordinary people, performing ordinary activities, albeit with extraordinary bodies The films focus on everyday objects and spaces, and use narrative fragmentation to elicit a temporal sense of ‘everydayness’ The methodology operates on two levels of filmic mediation: the pre-filmic, comprising my first-person encounters with the subjects, and the post-filmic that addresses the mediation of pre-filmic experience to the audience via the film The pre-filmic level makes use of phenomenological methods; the post-filmic implements a range of methods adapted from cognitive film studies This spectatorship-focused model offers a new way of representing and communicating the ordinary ‘everyday’ of the two blind characters, undoing the stereotypes that consistently ‘other’ members of this community
01 Jan 2011
TL;DR: In this paper, the authors explore the contributions of contemporary theories in film and literacy with the purpose of understanding how those theories inform an arts-based researcher in education. But they do not discuss the relationship between the arts, philosophy, cognitive, social and neurosciences.
Abstract: This thesis is an exploration of the contributions of contemporary theories in film and literacy with the purpose of understanding how those theories inform an arts-based researcher in education. Additionally, further insights are drawn from cognitive, social, and neurosciences with the purpose of broadening the scope of understanding that stretches across multiple disciplines wherein film and literacy education is found. By engaging in a wide exploration across multiple fields of knowledge, this thesis shows the extent to which the general belief of the incommensurability between the arts, philosophy, cognitive, social and neurosciences has impacted negatively on education. It is believed, however, that knowledge gained through the study of contemporary theories in film and literacy, which is founded upon the philosophical, psychological, and sociological, may achieve greater clarity and insight when framed within the scope of advanced studies in neurosciences. With the interweaving of autobiographical accounts, explorations in the theoretical and experimental lead to a renewed understanding of film, arts, and literacy pedagogy. Finally, it is believed that understanding the convergence of the brain’s cognitive, emotional, and sensorimotor functions and the primacy of movement, is pivotal to understanding the complex issues of brain-body-mind that range from consciousness to learning.
26 Sep 2007