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COMPENDIUM

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ESSAYS

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MISC.

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  • historic
  • Abstract Film
  • Animation
  • Architecture
  • Expanded Cinema
  • Color Organs
  • Film Score
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  • Sound Design
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26 Topics in Compendium
  • systematic
  • Audiovisual Perception
  • Color-Sound-Analogies
  • Conceptual Correlations
  • Montage
  • Parameter-Mapping
  • Structural Analogy
  • Synchronization
  • Synesthesia
  • Transformation
9 Topics in Compendium
  • Introduction to the compendium
  • Introduction to the essays
  • Hybrids at the Interface of Sound and Vision
  • Separation and Conjunction
  • Deaf Dumb Mute Blind
  • The Expanded Image
  • Between the Poles of Mickey Mousing and Counterpoint
  • Sound and Image Worlds in Pop Music
  • Audiovisual Interactive Art
  • On Hearing Eyes and Seeing Ears
  • The Question of Thresholds
  • Audition and Ergo-Audition
  • 12 Essays in Archive

EXHIBITION

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  • SEE THIS SOUND
  • Promises of Music for the Eye
  • Unreconciled
  • Borderline Art
  • New Modes of Perception
  • Come Together—Let’s Dance
  • Site.Sound.Industry
  • Audiovisual Experiments
  • Background Noises—Institutional Sounds
8 Areas in the Exhibition
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Compendium
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Sound Design

by Barbara Flückiger
List of books in this text
Kinoorgeln und Kinomusik in Deutschland (1995)
Dettke, Karl Heinz
Les Bruits de coulisses au cinéma (1914)
de Serk, S.
L’audio-vision: Son et image au cinéma (1990)
Chion, Michel
Sound Design: Die virtuelle Klangwelt des Films (2002)
Flückiger, Barbara
Specularity and Engulfment: Francis Ford Coppola and Bram Stoker’s Dracula (1998)
Elsaesser, Thomas
Smith, Murray and Neale, Steve (ed.)

previously read texts
  • Sound Design
  • Graphic Notation and Musical Graphics
  • Gesamtkunstwerk
  • undefined
  • The Film Score
  • Color Organs
  • Expanded Cinema
  • Architecture and Music
  • Sound in Animation
  • Absolute Film
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Timelines:1900 until today
Workdescriptions from this text
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Apocalypse Now

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Jurassic Park

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«Sound Design»
Works
Apocalypse Now, Jurassic Park
People
Brown Tregoweth (Chap. 2), Burtt Ben (Chap. 4, ), Cameron James (Chap. 4.3), Chion Michel (Chap. 4), Cooper Merian C. (Chap. 2), Coppola Francis Ford (Chap. 4, , 4.2), Elsaesser Thomas (Chap. 4.5), Hill Walter (Chap. 4.1), Hitchcock Alfred (Chap. 2, 3), King Kong (Chap. 2), Kubrick Stanley (Chap. 3), Lang Fritz (Chap. 2), Lean David (Chap. 3), Lucas George (Chap. 4), Macdonald Jimmy (Chap. 2), Mamoulian Rouben (Chap. 2), Murch Walter (Chap. , 4), Natali Vincenzo (Chap. 4.4), Pabst Georg W. (Chap. 2), Ruttmann Walter (Chap. 1), Sala Oskar (Chap. 3), Schoedsack Ernest B. (Chap. 2), Scorsese Martin (Chap. 4), Spielberg Steven (Chap. 4, 4.5, 4.3), Spivack Murray (Chap. 2), Vertov Dziga (Chap. 1), de Serk S. (Chap. 1)
Socialbodies
Deutsche Grammophon (Chap. 1), Dolby Laboratories Inc. (Chap. 4), Walt Disney Studio (Chap. 2), Warner Bros. (Chap. 2)
Mentioned
48 Hrs. (Chap. 4.1), Applause (Chap. 2), Blackmail (Chap. 2), Close Encounters of the Third Kind (Chap. 4.3), Cube (Chap. 4.4), Kameradschaft (Chap. 2), King Kong (Chap. 2), Lawrence of Arabia (Chap. 3), M (Chap. 2), Patéphone record player (Chap. 1), Raiders of the Lost Ark (Chap. 4.3), Spartacus (Chap. 3), Star Wars (Chap. 4, ), Terminator 2 - Judgment Day (Chap. 4.3), The Birds (Chap. 3), The Conversation (Chap. , 4), Trautonium (Chap. 3), Weekend (Chap. 1), Westfront 1918 (Chap. 2)
Keywords
Immersion (Chap. 4.5), Polysensualität (Chap. 1, 4, 4.5), Unification (Chap. 4.1), audiovisual dissonance (Chap. 4.2), montage (Chap. 1, 2), synchronicity (Chap. 3, 4), synthesis (Chap. 3)
Timespans
1900 – 1930, 1920 – 1950, 1950 – 1970, ab 1970, ab 1970, ab 1970, ab 1970, ab 1970, ab 1970

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