ACOUSMATIC FOLEY: SON-EN-SCÈNE

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51310%2F22%3AN0000022" target="_blank" >RIV/61384984:51310/22:N0000022 - isvavai.cz</a>

Nalezeny alternativní kódy

RIV/61384984:51310/23:N0000052

Výsledek na webu

<a href="https://revistas.ulusofona.pt/index.php/ijfma/article/view/8149" target="_blank" >https://revistas.ulusofona.pt/index.php/ijfma/article/view/8149</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.24140/ijfma.v7.n2.07" target="_blank" >10.24140/ijfma.v7.n2.07</a>

Jazyk výsledku

angličtina

Název v původním jazyce

ACOUSMATIC FOLEY: SON-EN-SCÈNE

Popis výsledku v původním jazyce

“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film’s story-telling strategies. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. In line with Kulezic-Wilson’s proposal on an “integrated soundtrack”, this research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all of sound’s fictional aspects.

Název v anglickém jazyce

ACOUSMATIC FOLEY: SON-EN-SCÈNE

Popis výsledku anglicky

“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film’s story-telling strategies. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. In line with Kulezic-Wilson’s proposal on an “integrated soundtrack”, this research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all of sound’s fictional aspects.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

—

OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

International Journal of Film and Media Arts

ISSN

2183-9271

e-ISSN

—

Svazek periodika

7

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

PT - Portugalská republika

Počet stran výsledku

24

Strana od-do

125-148

Kód UT WoS článku

—

EID výsledku v databázi Scopus

2-s2.0-85144147787