De productie, de distributie, en de waarneming van bewegende beelden zijn onderhevig aan een radicale transformatie. Doordat steeds snellere computers en digitale technologie kracht bundelen, ontstaat er een nieuwe vorm van 'audiovisie'. Bijna niets zal hetzelfde blijven. De ooit 'normale' media voor het uitdragen van film - de bioscoop en de televisie - blijken niet meer te zijn dan een intermezzo in de geschiedenis van de audiovisuele media. Dit boek interpreteert de veranderingen niet als cultureel verlies maar als een uitdaging: de nieuwe 'audiovisie' moet anders benaderd worden om strategische interventie mogelijk te maken. 'Audiovisions' ondersteunt deze benadering op historische wijze. Door te kijken naar 100 jaar, van het eind van de negentiende tot aan het eind van de 20ste eeuw, laat het zien waarom de bioscoop en televisie als eindige, culturele vormen gezien moeten worden. Tevens is het boek een pleidooi voor ' blijvend kracht' van studies naar culturele technologie en de technologische cultuur van film. Essayistisch in stijl, is het boek gestructureerd rond verschillende historische fasen. De beelden en bij de tekst zorgen voor supplementaire informatie, contrast, en aanvullend commentaar.

Deals with issue of sound in audio-visual images

Even as actresses become increasingly marginalized by Hollywood, French cinema is witnessing an explosion of female talent—a Golden Age unlike anything the world has seen since the days of Stanwyck, Hepburn, Davis, and Garbo. In France, the joy of acting is alive and well. Scores of French actresses are doing the best work of their lives in movies tailored to their star images and unique personalities. Yet virtually no one this side of the Atlantic even knows about them. Viewers who feel shortchanged by Hollywood will be thrilled to discover The Beauty of the Real. This book showcases a range of contemporary French actresses to an audience that will know how to appreciate them—an American public hungry for the exact qualities that these women represent. To spend time with them, to admire their flashing intelligence and fearless willingness to depict life as it is lived, gives us what we're looking for in movies but so rarely find: insights into womanhood, meditations on the dark and light aspect's of life's journey, revelations and explorations that move viewers to reflect on their own lives. The stories they bring to the screen leave us feeling renewed and excited about movies again. Based on one-on-one interviews and the viewing of numerous films, Mick LaSalle has put together a fascinating profile of recent generations of French film stars and an overview of their best work. These women's insights and words illuminate his book, which will answer once and for all the two questions Americans most often have about women and the movies: Where did all the great actresses go? And how can I see their movies? Please visit blog.sfgate.com/mlasalle/2012/09/23/rendezvous-damerique/ to see a video discussing The Beauty of the Real at the Roxie Film Festival.

This book introduces an archaeological approach to the study of media - one that sifts through the evidence to learn how media were written about, used, designed, preserved, and sometimes discarded. Edited by Erkki Huhtamo and Jussi Parikka, with contributions from internationally prominent scholars from Europe, North America, and Japan, the essays help us understand how the media that predate today’s interactive, digital forms were in their time contested, adopted and embedded in the everyday. Providing a broad overview of the many historical and theoretical facets of Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. By revisiting ‘old’ or even ‘dead’ media, it provides a richer horizon for understanding ‘new’ media in their complex and often contradictory roles in contemporary society and culture.

Michel Chion’s landmark Audio-Vision has exerted significant influence on our understanding of sound-image relations since its original publication in 1994. Chion argues that sound film qualitatively produces a new form of perception. Sound in audiovisual media does not merely complement images. Instead, the two channels together engage audio-vision, a special mode of perception that transforms both seeing and hearing. We don’t see images and hear sounds separately—we audio-view a trans-sensory whole. In this updated and expanded edition, Chion considers many additional examples from recent world cinema and formulates new questions for the contemporary media environment. He takes into account the evolving role of audio-vision in different theatrical environments, considering its significance for music videos, video art, commercial television, and the internet, as well as conventional cinema. Chion explores how multitrack digital sound enables astonishing detail, extending the space of the action and changing practices of scene construction. He demonstrates that speech is central to film and television and shows why “audio-logo-visual” is a more accurate term than “audiovisual.” Audio-Vision shows us that sound is driving the creation of a sensory cinema. This edition includes a glossary of terms, a chronology of several hundred significant films, and the original foreword by sound designer, editor, and Oscar honoree Walter Murch.

Leading with Sound is the must-have companion guide to working on video game projects. Focused on the creative, collaborative, philosophical and organizational skills behind game sound and eschewing the technical, this book celebrates the subjects most essential to leading with sound in video game development at any level. Refuting the traditional optics of sound as a service in favour of sound as a pro-active visionary department, , this book examines each of the four food-groups of dialogue, sound design, music and mix, not through the usual technical and production lenses of ‘how’ and ‘when’, but the essential lens of ‘why’ that enables leadership with sound. Leading with Sound is essential reading for aspiring sound designers, inside and outside of the classroom, as well as experienced professionals in the game industry.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics. A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, 'sensible cognition' and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become 'artistic' or 'poetic' in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice. A 'practical aesthetics' thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.