Book
Film, a sound art / Michel Chion ; translated by Claudia Gorbman.
Record details
- ISBN: 9780231137768 (cloth : alk. paper)
- ISBN: 0231137761 (cloth : alk. paper)
- ISBN: 9780231137775 (pbk. : alk. paper)
- ISBN: 023113777X (pbk. : alk. paper)
- Physical Description: xii, 536 p. : ill., music ; 25 cm.
- Edition: [English ed.].
- Publisher: New York : Columbia University Press, c2009.
Content descriptions
| General Note: | Translated from the French. |
| Bibliography, etc. Note: | Includes bibliographical references and index. |
| Formatted Contents Note: | History. When film was deaf (1895-1927) -- Chaplin: three steps into speech -- Birth of the talkies or of sound film? (1927-1935) -- Jean Vigo: the material and the ideal -- The ascendancy of king text (1935-1950) -- Babel -- The time it takes for time to "harden" (1950-1975) -- The return of the sensorial (1975-1990) -- The silence of the loudspeakers (1990-2003) -- On a sequence from The birds: sound film as palimpsestic art -- Aesthetics and poetics. Jacques Tati: the cow and the moo -- The disappointed fairies around the cradle -- The separation -- The real and the rendered -- The three borders -- Audiovisual phrasing -- Alfred Hitchcock: seeing and hearing -- The twelve ears -- Orson Welles: the voice and the house -- The talking machine -- Faces and speech -- Andrei Tarkovsky: language and the world -- The five powers -- God is a disc jockey -- Max Ophuls: music, noise, and speech -- Like tears in rain. |
Search for related items by subject
| Subject: | Sound motion pictures. Motion pictures > Sound effects. Motion pictures > Aesthetics. მოძრავი კინო. ფილმების გახმოვანება. > ხმა კინოში. |
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Available copies
- 1 of 1 copy available at United Catalog.
Holds
- 0 current holds with 1 total copy.
Show Only Available Copies
| Location | Call Number / Copy Notes | Barcode | Shelving Location | Status | Due Date |
|---|---|---|---|---|---|
| Shota Rustaveli Central Reading Hall (RD II) | 778.534.4 Ch-52 რდ(II) | 900001825803 | Stacks | Available | - |
| History. When film was deaf (1895-1927) | ||
| Chaplin: three steps into speech | ||
| Birth of the talkies or of sound film? (1927-1935) | ||
| Jean Vigo: the material and the ideal | ||
| The ascendancy of king text (1935-1950) | ||
| Babel | ||
| The time it takes for time to "harden" (1950-1975) | ||
| The return of the sensorial (1975-1990) | ||
| The silence of the loudspeakers (1990-2003) | ||
| On a sequence from The birds: sound film as palimpsestic art | ||
| Aesthetics and poetics. Jacques Tati, the cow, and the moo | ||
| The disappointed fairies around the cradle | ||
| The separation | ||
| The real and the rendered | ||
| The three borders | ||
| Audiovisual phrasing | ||
| Alfred Hitchcock: seeing and hearing | ||
| The twelve ears | ||
| Orson Welles: the voice and the house | ||
| The talking machine | ||
| Faces and speech | ||
| Andrei Tarkovsky: language and the world | ||
| The five powers | ||
| God is a disc jockey | ||
| Max Ophuls: music, noise, and speech | ||
| Like tears in rain. |
