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Analyse van de "Nouvelle Vague", een stroming in de Franse film uit de jaren 1960-1970, gezien vanuit Amerikaans standpunt
What happens when we listen to a film? How can we describe the relationship of sound to vision in cinema, and in turn our relationship as spectators with the audio-visual? Jean-Luc Godard understood the importance of the soundtrack in cinema and relied heavily on the impact of carefully constructed sound to produce innovative effects. For the first time, this book brings together his post-1979 multimedia works, and an analysis of their rich soundscapes.The book provides detailed critical discussions of feature-length films, shorts and videos, delving into Godard's inventive experiments with the cinematic soundtrack and offering new insights into his latest 3D films. By detailing the production contexts and philosophy behind Godard's idiosyncratic sound design, it provides an accessible route to understanding his complex use of music, speech and environmental sound, alongside the distorting effects of speed alteration and auditory excess. The book is framed by the concept of 'acoustic spectatorship': a way of cultivating active listening in the viewer.It also draws on ideas by leading sound theorists, philosophers, musicians, and poets, giving particular emphasis to the pioneering thought of French sound engineer and theorist, Pierre Schaeffer. Softening the boundaries between film studies, sound studies and musicology, Godard and Sound re-evaluates Godard's work from a sonic perspective, and will prove essential reading for those wishing to rebalance the importance of sound for the study of cinema.
This book presents the first book-length study of ambient sound as a key issue in sound studies and sonic philosophy. Taking a broad, media-philosophical approach, it explores ambient sound as a basic dimension of the sonic environment, sonic technologies, sonic arts and the material staging of listening. Through analyses of key concepts such as surroundability, mediatization, immanence, synthetization and continuous variation, the book elucidates how ambient aspects of sound influence our conceptions of what sound is and how it affects us by exposing sound’s relation to basic categories such as space, time, environment, medium and materiality. It also illuminates how the strategic production of ambient sound constitutes a leading aesthetic paradigm that has been a decisive factor in the shaping of the modern sonic environment – from key developments in experimental and popular music, sound art and cinematic sound design to the architectural-technological construction of listening spaces in concert halls and theaters and in current streaming infrastructures, digital surround sound and the everyday aesthetics of headphone listening.
Is there an acoustical equivalent to Walter Benjamin’s idea of the optical unconscious? In the 1930s, Benjamin was interested in how visual media expand our optical perception: the invention of the camera allowed us to see images and details that we could not consciously perceive before. This study argues that Benjamin was also concerned with how acoustical media allow us to “hear otherwise,” that is, to listen to sound structures previously lost to the naked ear. Crucially, they help sensitize us to the discursive sonority of words, which Benjamin was already alluding to in his autobiographical work. In five chapters that range in scope from Tieck’s Blonde Eckbert, which Benjamin once called his locus classicus of his theory of forgetting, to Alexander Kluge’s films and short texts, where he develops what he calls “sound perspectives,” this monograph discusses how the acoustical unconscious enriches our understanding of different media, from the written word to radio and film. As the first book-length study of Benjamin’s linguistic, cultural-historical, and media-theoretical reflections on sound, this book will be particularly relevant to students and scholars of both German studies and sound studies.
This compendium of original essays offers invaluable insights into the life and works of one of the most important and influential directors in the history of cinema, exploring his major films, philosophy, politics, and connections to other critics and directors. Presents a compendium of original essays offering invaluable insights into the life and works of one of the most important and influential filmmakers in the history of cinema Features contributions from an international cast of major film theorists and critics Provides readers with both an in-depth reading of Godard’s major films and a sense of his evolution from the New Wave to his later political periods Brings fresh insights into the great director’s biography, including reflections on his personal philosophy, politics, and connections to other critics and filmmakers Explores many of the 80 features Godard made in nearly 60 years, and includes coverage of his recent work in video
Deals with issue of sound in audio-visual images
Jean-Luc Godard and Anne-Marie Miéville are among the most important postwar filmmakers; they have worked across forms, across media, and across countries. This book, the first to be devoted specifically to the work they did together, examines the way they expanded the possibilities of cinema by using cutting-edge video equipment in a constant search for a new kind of filmmaking. Two Bicycles examines all of the films, videos, and television works that the two did together, and moves slowly across France and Switzerland, with detours in Quebec, Mozambique, and Palestine. Their amazingly varied body of work includes a twelve-hour television series, some experimental videos, an acclaimed feature film with Isabelle Huppert, a cigarette commercial, and much else. Overall the book shows the degree to which this work departs radically from the legacy of the French New Wave, and in many ways shows signs of having been formed by the distinct culture of Switzerland, to which Godard and Miéville returned in the 1970s to set up their “atelier,” Sonimage. Two Bicycles offers a chance to explore a body of work that is as unique and demanding as it is rich and revelatory. Godard and Miéville have worked together for four decades but have never seemed more relevant.
The practice of blurring the line between score and sound design has transformed contemporary film soundscape by challenging not only the long-established hierarchical relationships between dialogue, music, and sound effects, but also the modes of perception shaped by classical soundtrack practices. The methods of this new trend rely on the language of contemporary popular and art music, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. In Sound Design is the New Score, Kulezic-Wilson explores theoretical, aesthetic, and sensuous dimensions of this new trend, providing a multifaceted portrait of a practice which recognizes the interconnectedness of all soundtrack elements and emphasizes their inherent musicality. The aesthetic concerns of this practice are illuminated through the concept of the aesthetics of reticence which rejects classical narrative and scoring conventions and uses integrated soundtrack strategies to create the space for mystery in art and for individuality in the cinematic experience. The book's emphasis on sensuous and musical aspects of this practice, informed by the feminist discourse on the erotics of art, challenges popular notions about sensory cinema, demonstrating that the sensuousness of film form and its soundscapes is more sophisticated than simply being the result of excessive sensory stimulation facilitated by the use of digital technology or the "intensified" aesthetics it inspires. The discussion is supported by a wide range of case studies from American Independent, Asian, Australian, and European cinemas, including films by Shane Carruth, Claire Denis, Hou Hsiao-Hsien, Harmony Korine, David Michôd, Gus Van Sant, and Peter Strickland.
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Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. Warner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard. The essay film has often been understood by scholars as an eccentric development within documentary, but Warner shows how an essayistic process of thinking can materialize just as potently within narrative fiction films, through self-critical investigations into the aesthetic, political, and philosophical resources of the medium. Studying examples by Godard and other directors, such as Orson Welles, Chris Marker, Agnès Varda, and Harun Farocki, Warner elaborates a fresh account of essayistic reflection that turns on the imaginative, constructive role of the viewer. Through fine-grained analyses, this book contributes the most nuanced description yet of the relational interface between viewer and screen in the context of the essay film. Shedding new light on Godard’s work, from the 1960s to the 2010s, in film, television, video, and digital stereoscopy, Warner distills an understanding of essayistic cinema as a shared exercise of critical rumination and perceptual discovery.