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Sound / image
Jonathan Bignell, Sarah Cardwell, and Lucy Fife Donaldson

1997 ), in which immediacy and simultaneity were considered properties of the medium. In drama, this has been exploited by choices such as rapid rhythms of image or sound editing that match the exciting forward movement of storytelling, or, conversely, by long sequences of unedited action and naturalistic styles of performance that give viewers access to the space and time that the characters inhabit. But what the viewer sees and hears is clearly happening elsewhere and elsewhen, combining television's lure of presence with audiovisual remediation's necessary

in Sound / image
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Susan Hayward and Phil Powrie

devoted to the soundtrack. The 1980 Yale French Studies special issue on sound edited by Rick Altman was a key early work (about half of it dedicated to music), as was the work of the French theorist Michel Chion (whose foundational 1980s work has been translated by Claudia Gorbman; see Chion, 1994 and 1999 ). Scholarship in this area has expanded rapidly as specialists in musicology and Film Studies have explored it, and the

in The films of Luc Besson
Sylvie Magerstädt

of Pelias) and its attempt at modernising the narrative, for some it simply ‘retold the story of the 1963 film at twice the length and with less than half the charm’ (Richards, 2008: 170). Here, the show evidently did not take advantage of the opportunities provided by the serial format and merely extended the action rather than aiming for narrative complexity. In 2002, TNT got in on the act with its Julius Caesar (dir. Uli Edel), another two-part miniseries. The show received two Emmy nominations, for make-up and sound editing. It focused on Caesar’s early years

in TV antiquity
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Andy Birtwistle

classical cinema was to confirm Soviet anxieties about the hegemonic power of theatrical and naturalistic modes of expression, the introduction of optical sound technology also opened up two new strands of sonic practice that were to have a profound influence on the soundscape of the twentieth century: the first of these was synthesis, the second was sound editing. The primary creative opportunity that sound editing affords

in Cinesonica
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Andy Birtwistle

two parallel and related strands of sonic practice that were to have a profound influence on the soundscape of twentieth-c entury western art: the first of these was sound editing (dealt with in Chapter 6 ), the second, sound synthesis. As has already been demonstrated by the example of ground noise, film technology generates as well as reproduces sound. The sig-nificance of the conceptual shift from reproduction to

in Cinesonica
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Don Fairservice

point the film is ‘locked-off which means that the final stages – sound editing, music composing and recording, sound mixing, negative cutting and grading of the final print – can proceed unhindered by any further changes. 3 What eventually reaches the screen is usually several steps away from the initial intention and seldom the work of a dominant, single-minded, directorial authority bringing a finely conceived, original

in Film editing: history, theory and practice
Rob Stone

subject to its gaze. If anything, the subtle camera movement and its angles, the teasing and revealing use of framing, the expository but misleading use of deep focus and the artful sound editing adopt the strategy of imitating his purpose but making him victim of it too. Thus, although the film was the target of feminist criticism at the Venice Film Festival, the constantly shifting perspective complicates the accusation of being shot

in Spanish cinema 1973–2010
The politics of performance in the Spanish sophisticated comedy of the 1940s
Stuart Green

styles outlined above. In reference to Su excelencia, el mayordomo/​His Excellency, the Butler (Miguel Iglesias, 1942), he writes that Luis Prendes’ performance is ‘desenvuelta y a tono con el matiz de vodevil que marca la cinta’ [relaxed and in keeping with the spirit of farce that defines the film] (Mas-​Gunidal [1943a]). This attitude is much more patent in the subsequent reviews by Pazos, the majority of which devote greater space to Spanish films and are divided into sections regarding storyline, dialogue, sound, editing, music, cinematography, mise

in Performance and Spanish film
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Catherine Constable

-en-scène, costume, performance, lighting, music, dialogue, sound, editing and cinematography. Indeed, it would seem that the swiftness with which we can grasp the significance of filmic figures leads to an underestimation of the work required to do so, what Robert Stam ably describes as ‘intense perceptual and conceptual labor – the work of iconic designation, visual deciphering, narrative inference and construction – inherent in [viewing] film.’62 It might be argued that the problems of Wartenberg’s model could be solved by replacing his meta-critical vocabulary of

in Adapting philosophy
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The symbiosis of Joseph Losey and Harold Pinter
Peter Jameson

Barrett’s entrance into the bedroom. The silence persists until Susan leaves the house, experiencing another uncomfortable encounter with Barrett on the way. As he opens the door for her, the children’s laughter starts up again, but now carries a sense of mockery. In Pinter’s direction, Susan leans against a lamp post outside ‘Suddenly looking lost.’ 37 The unorthodox sound edits bring an almost supernatural element to the ‘uneasy silence’ briefly mentioned in Pinter’s script. The choreography of the two characters throughout this sequence and

in British art cinema