-
Presentation
Presentation
Within the MA in Film Heritage, this curricular unit aims at introducing students to the historical, technical and practical aspects of sound and music for cinema.
-
Class from course
Class from course
-
Degree | Semesters | ECTS
Degree | Semesters | ECTS
Master Degree | Semestral | 8
-
Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
-
Code
Code
ULHT6353-23332
-
Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
-
Professional Internship
Professional Internship
Não
-
Syllabus
Syllabus
1. General notions of acoustics; 2. Silent film; 3. Musical accompaniment and the creation of sound effects; 4. The introduction and technological evolution of sound in cinema: challenges associated with the first sound/image synchronization systems; The phonograph; The chromomegaphone; Optical systems; Movietone; Vitaphone; Magnetic tape: 5. The evolution of microphones and amplification systems; 6. Sound design as an art form: “foleys”; 7. The soundscapes; 8. Musicals and soundtracks; 9. Reason and emotion in audiovisual communication; 10. Global perspectives: global film industries and the standardization of aesthetic-artistic references; 11. The digital revolution; 12. Sound immersiveness 13. Case Studies: Influential Films 14. Challenges and controversies: issues surrounding quality; 15. The National Sound Archive; 16. Future directions: the potential of artificial intelligence; 17. Generic techniques for editing and assembling sound structures for cinema; I18. Digital Sound restoration techniques;
-
Objectives
Objectives
The curricular unit is part of the master's degree in Film Heritage and allows students to be introduced to the historical, technical and practical aspects of sound and music in cinema. The main objectives of the course are to understand and analyze the historical developments of sound and music in cinema, as well as to acquire scientific, technical and practical knowledge in the area of ¿¿sound. The development of technical-practical skills is combined with the development of analytical, critical and creative capabilities in approaching sound in an audiovisual context. This knowledge will favor the acquisition of skills in direct contact with equipment, whether in a production or archival context (preservation, treatment/ restoration, curation).
-
Teaching methodologies and assessment
Teaching methodologies and assessment
Exhibition and presentation of content via Powerpoint and audiovisual documents. Analysis of excerpts from cinematographic works. Viewing documentaries about sound in cinema. Study and discussion of fundamental texts. Carrying out practical work to apply knowledge. Provision of documentation to support the study through the University's e-Learning platforms - Moodle;
-
References
References
Buhler, James,. (2010). Hearing the Movies: music and sound in film history, Oxford. Oxford University Press. Chion, M. (1994). Audio-vision: Sound on Screen . Columbia University Press. Gaines, J. M. (2015). Composing for Moving Pictures: The Essential Guide . Oxford University Press. Gomery, Douglas (2005). The Coming of Sound: a history. New York, Routledge. Pereira, Arthur (2016). Sound Recording for Films: the history and development of sound recording. Read Books Limited Taylor & Francis. Huber, D. M. (2018). Modern Recording Techniques (Ninth Edition) . T Taylor & Francis. Kalinak, K. (2010). Film Music: A Very Short Introduction . Oxford University Press. Sider, L., Sider, J., & Freeman, D. (2003). Soundscape: The School of Sound Lectures, 1998-2001 . Wallflower Press. Zettl, H. (2016). Sight, Sound, Motion: Applied Media Aesthetics . Cengage Learning.
-
Office Hours
Office Hours
-
Mobility
Mobility
No
