Andy Birtwistle

understood as the sound produced by film’s material substrate as it passes across a sound reproducer. On magnetic recordings, including all the various analogue video formats, the equivalent of this sound is the hiss produced by the oxides of the recording tape. But even without film running through a projector, sound is still produced by projection and sound reproduction equipment, as a result of the electrical resistance inherent in the

in Cinesonica
Abstract only
Don Fairservice

of the song. All of these various synchronising systems depended on the phonograph as the sound-recording and playback mechanism, and the fundamental problem that these presentations faced was that there was no satisfactory means of amplifying the sound. All early phonograph recordings reproduced sound acoustically: a needle ran in a groove on a wax covered cylinder or disc and responded to small fluctuations in the surface

in Film editing: history, theory and practice
John Williamson and Martin Cloonan

89 4 The politics of dancing: 1934–1945 Following Ehrlich’s assessment that the 1930s were a ‘watershed moment’ for the music profession, we argue that 1934 was a significant turning point for the MU. With the first signs of a reversal of the dire consequences of the talkies and recession for the profession, it was also the year in which the recording and broadcasting industries reorganised in ways that were to prove integral to the Union’s immediate survival and long-term future. This chapter concentrates on the period of revival that made this possible. We

in Players’ work time
Horror audio in the digital age
Richard J. Hand

recording to digital experiments. Moreover, in entering the contemporary world we discover that certain boundaries become less meaningful: web-based audio and podcast facilities (even the ostensible ‘catch up’ functionality of the BBC iPlayer) have created a listenership that can listen ‘on-demand’ rather keep its ‘appointment’ with a programme. Likewise, although this book has been framed as a study of a

in Listen in terror
Open Access (free)
Emotions and research
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson and Roiyah Saltus

lost bodily expression and vocal nuance. This is why some researchers work between an audio/visual recording and a transcript. Listening to or watching an interview or research interaction can enrich analysis, helping us to notice extra-linguistic data – when someone is being sarcastic or feels uncomfortable. This type of work is also more time-consuming, so needs to be addressed in the planning stages of a study. Dissemination is another

in Go home?
Abstract only
Michael Leonard

, ethereal quality evident in the image is a result of the director deliberately exposing the undeveloped film reel to light. Plate 7 Elle a passé tant d’heures sous les sunlights , 1984. Chantal Akerman is shown in a lengthy close-up shot accompanied by a recording of a discussion between her and Garrel. Akerman’s appearance in a fictional work, alongside a sequence with Jacques Doillon, contributes to the generic heterogeneity of the work. Plate 8 Les Baisers de secours , 1989. Philippe Garrel (Mathieu) and his then wife Brigitte Sy (Jeanne) in

in Philippe Garrel
John Williamson and Martin Cloonan

in terms of employment in the cafés, hotels, theatres, and halls in London at a time when both the recording and broadcasting industries were becoming not only large-scale employers of musicians but also more important in terms of economic value, power, and international influence. This chapter examines how these changes played out externally and their impact on the Union. Starting with an overview of the state of the music profession in Britain at the end of the war, it then considers the structural and organisational issues facing the Union as it doubled in size

in Players’ work time
Capitalism, industry and the mainstream
Nick Crossley

capitalist societies, the social relations of musicking typically involve commodification. Artists and support personnel sell their goods to one another, to an audience and to other cultural producers, such as television programme makers and video game manufacturers, who incorporate them within their own products (Meier 2017 ). Commodification, in turn, typically takes three forms: (1) the production and sale of recordings; (2) live performance; and (3) licencing of copyrighted materials including, in contemporary capitalism, an artist's ‘brand’ (Meier 2017 ; Lieb 2018

in Connecting sounds
A short history
Sarah Daynes

, have deeply influenced Caribbean popular music. The term reggae is commonly used to designate the music that emerged in Jamaica at the end of the 1960s, and in which the most famous artist is Bob Marley. It is characterized by the prominence and freedom of the bass line, and by a back-beat rhythmic guitar (sometimes replaced by a piano or keyboard). Reggae is the product of multiple influences: African percussion (Burru drums) and   Examples of recordings concerning Jamaica include Drums of Defiance: Maroon Music from the Earliest Free Black Communities in Jamaica

in Time and memory in reggae music
Bernard Herrmann and The Man Who Knew Too Much
Murray Pomerance

had finally said to the filmmaker, ‘Hitch, what’s the use of my doing more with you? Your pictures, your mathematics, three zeroes. My mathematics, quite different’ (290). The love affair, if that it was, did not end well, a fact that has materialised in numerous accounts. My understanding is that when he was at Universal recording Taxi Driver for Martin Scorsese, Herrmann brought his new wife Norma over to the legendary bungalow, along with his brand new copy of François Truffaut’s Hitchcock, which he expected Hitch would sign for him while also meeting the wife

in Partners in suspense