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The Creative Aspect of Sound Engineering Process in Feature Film

100%
Hamela J.
Estetyka i Krytyka
|
2014
|
issue 3(34)
23-44
EN
The aim of this paper is to discuss and clarify the numerous controversies regarding the creative aspect of sound engineering process in feature film. The author describes the core of the sound operator’s work and focuses on the analysis of two different methods employed by a sound engineering on the set: designing and recording.
2
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Music for Nine Post Cards jako przykład kankyo ongaku, czyli „muzyki unoszącej się w powietrzu jak dym”

88%
Sznajder P.
Kwartalnik Młodych Muzykologów UJ
|
2022
|
issue 2(53)
73-91
EN
The aim of the article is an attempt to present the genesis and describe the first compositions that formulated the Japanese ambient trend, i.e. kankyo ongaku. The subject of the research is both the history of the creation of the series by Hiroshi Yoshimura, Music for Nine Post Cards, which became the cornerstone of later albums from the ambient and minimal music trend in Japan, as well as individual works included in the cycle under study. Based on the results of the automated and auditory analysis of Music for Nine Post Cards, the structure of musical works and their stylistic features are determined. For automated analysis, Sonic Visualiser was used-an application used to create a graphical visualisation of the music content of audio files. As a result of the research, the answer was obtained as to how Hiroshi Yoshimura and Satoshi Ashikawa realised the original assumptions of kankyo ongaku.
3
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Dźwięk w naszych domach. O akustycznych strategiach marketingowych marki IKEA

88%
Guzy M.
Didaskalia. Gazeta Teatralna
|
2021
|
issue 163/164
163-192
EN
The article aims to analyse a sonic turn in IKEA marketing practices that can be observed since 2017. The selection of advertisements that are presented in the paper is studied from two perspectives. Firstly, as a capitalist strategy of producing a demand for a certain product allowing to reperform acoustic harmony that is inherently connected to the notion of a home in western culture. Secondly, in quite the opposite way, as a possible aesthetic impulse capable of changing the consumers’ perception of indoor soundscapes. The frame for this research is mainly Brandon LaBelle’s sound studies theory and Chantal Mouffe’s political theory.
4
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Phonostilistische Besonderheiten des deutschen Reimdiskurses

88%
Tokaryeva T., Khomenko T.
Linguistische Treffen in Wrocław
|
2019
|
issue 16
341-352
EN
The vocal side of language has aroused the interest of scientists and researchers since antiquity. This direc¬tion in linguistic research is still relevant today, as evidenced by numerous treatises and experiments. In the present contribution, the authors tried to generalize and to analyze the most important means of pho¬nostilistics and their realization in different types of rhyming discourse, such as nursery rhymes, children’s poems, puzzles, lyrical poems etc. It has been proved very clearly that alliteration, assonance, phonetic imitation, phonetic symbolism as well as linguistic design are characterized by the aesthetic function as well. They create a special atmosphere in a finished work and thus achieve a certain emotional influence not only on the listener but also on the reader. This realizes the existence of the finest thread between the author and the auditorium, for which his rhyming work is forseen.
5

Ścieżki Chrisa Watsona. Afekty i performatywna sprawczość nagrań terenowych w kinie doby katastrofy ekologicznej

51%
Michnik A.
Kwartalnik Filmowy
|
2020
|
issue 111 Zmysły i afekty
105-122
PL
Autor przygląda się afektywnym aspektom oraz związanej z nimi performatywnej sprawczości wykorzystania we współczesnym kinie nagrań terenowych. Wywód jest zogniskowany wokół twórczości i postaci Chrisa Watsona, specjalisty od nagrań terenowych przyrody, pracującego m.in. dla BBC, zwłaszcza przy produkcjach Davida Attenborough. Zestawiając dyskursy współczesnych afektywnych teorii kina i jego warstwy dźwiękowej (m.in. Michela Chiona, Barbary Flückiger, Caryl Flinn, Danijeli Kulezic-Wilson) z dyskursami wokół samego field recordingu (Francisco López) oraz różnymi narzędziami współczesnej humanistyki, autor pokazuje, w jaki sposób nagrania terenowe współtworzą afektywne narracje filmów oraz oddziałują na odbiorcę, budując przestrzeń światów przedstawionych, a także w jaki sposób nagrania terenowe przyrody wpisują się w szerszy krajobraz afektywny niepokojów doby katastrofy klimatycznej.
EN
The author examines affective dimensions and performative agency of field recordings used in contemporary cinema. The narrative is centred around the works of Chris Watson, a specialist in the field of nature recordings, and a long-time collaborator of David Attenborough in his BBC productions. The essay juxtaposes contemporary affective theories of cinema and its soundtrack (i.a. Michel Chion, Barbara Flückiger, Caryl Flinn, Danijela Kulezic-Wilson) with discourses of field recording itself (Francisco López) and different tools of current humanities, to show how field recordings co-create cinema’s affective narrations, as well as affecting the viewer through the creation of the space of cinematic worlds. The author also analyses the functioning of field recordings within broader affective landscape of uncertainty in the age of climate disaster.
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