Medienwissenschaft / Kiel

Berichte und Papiere

17/1999

Sound

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ISSN 1615-7060.

Herausgeber: Prof. Dr. Hans J. Wulff, Christian-Albrechts-Universität Kiel, Institut für NDL und Medien, Leibnizstr. 8, D-24098 Kiel.

Letzte Änderung: 3. März 2000.

 

Sound: Eine Arbeitsbibliographie

Hans J. Wulff

Abbott, George (1929) The big noise: An unfanatical defense of the potentialities of talking pictures, the cinema's unwanted scion. In: Vanity Fair 32,79, April 1929, p. 110.

Academy of Motion Picture Arts and Sciences, Research Council (1938) Motion picture sound engineering.

Academy of Motion Picture Arts and Sciences (1938) (comp.) Motion picture sound engineering. New York: Van Nostrand 1938, 547 pp.

Adamson, J. (1978) Crabquacks. In: Take One 6,2, 1978, pp. 18-22.

Agag [Pseud.] (1931) The new noise. In: G.K's Weekly, 13, 1. August 1931, p. 326.

Ahern, Maurice L. (1930) Hollywood horizons. In: Commonweal 12, 21. May 1939, pp. 71-73.

Aiken, Joseph E. (1958) Technical notes and reminiscences on the presentation of Tykociner's sound picture contributions. In: Journal of the SMPTE 67, 1958.

Akemann, Walter (1931) Tontechnik und Anwendung des Tonkoffergerätes. In: Kinotechnik v. 5.12.1931, pp. 444ff.

Aldred, John (1978) Manual of sound recording. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp.

Alkin, Glyn (1981) Sound recording and production. London/Boston: Focal Press 1981, 224 pp.

Alkin, E. Glyn M. (1972) Sound with vision: sound techniques for television and film. New York: Crane Russak 1972.

Allighan, Garry (1929) The romance of the talkies. London: Claude Stacey 1929, 104 pp.

Alsina Thevenet, H. (1979) Asi empesó el sonoro. In: Cinema 2002 47, Jan. 1979, pp. 42-45.

Alsina Thevenet, H. (1982) Asi empesó el cine sonoro y parlante. In: Cinemateca Revista 5, 30. February 1982, pp. 22-25.

Alten, Stanley R. (1981) Audio in media. Belmont, Cal.: Wadsworth Publishing Co. 1981.

Altman, Rick (1985a) The technology of the voice. In: Iris 3,1, 1985, pp. 3-20.

Altman, Rick (1985b) The evolution of sound technology. In: Weis & Belton 1985, pp. 44-53.

Altman, Rick (1986) Television/sound. In: Studies in entertainment: Critical approaches to mass culture. Ed. by Tania Modleski. Bloomington/Indianapolis: Indiana University Press 1986, pp. 39-54.

Altman, Rick (1992) (ed.) Sound theory, sound practice. New York/London: Routledge 1992, vi, 290 pp. (AFI Film Readers.).

Altman, Charles F. (1980) Moving lips: Cinema as ventriloquism. In: Yale French Studies, 60, 1980, pp. 67-79.

Altman, Charles F. (1980) Introduction. In: Yale French Studies, 60, 1980, pp. 3-15.

Amarasingham, Indiram (1971) Film-sound-space: The OSS (Optical Sound Synthesizer). In: Filmmakers Newsletter 4,6, April 1971, pp. 35-38.

Ames, Winthrop (1928) The future of the talkies. In: Theatre Guild Magazine 6, October 1928, p. 22.

Amyes, Tim (1990) Technique of audio post-production in video and film. London: Focal Press 1990, 160 pp.

Anderson, John (1931) The ghost of a show. In: Harper's Bazaar 65, February 1931, pp. 92-3, 148.

Anderson, Joseph D. (1993) Sound and image together: cross-modal confirmation. In: Wide Angle 15,1, 1993, pp. 30-43.

Andrew, Dudley (1980) Sound in France: The origins of a native school. In: Yale French Studies, 60, 1980, pp. 94-114.

Andrews, Ben (1979) The semiotics of film sound: A study of the sound-image articulation in Adieu Philippine. Ph.D. Thesis, Columbia, Miss.: University of Missouri 1979.

Anonymous (1907) O.T. In: Der Kinematograph (Düsseldorf), 13, 31.3.1907.

--- (1908) Wie singende Bilder (Tonbilder) entstehen. In: Der Kinematograph (Düsseldorf), 65, 25.3.1908.

Anonymous (1926) New musical marvels in the movies. In: Etude (Philadelphia) 44, Oct. 1926, p. 781.

Anonymous (1927) Development of talking films. In: Film Daily Yearbook of Motion Pictures, 1927, p. 814.

Anonymous (1928) Hollywood speaks. In: The Nation 127, 26. Sept. 1928, pp. 285-286.

Anonymous (1929) Film acting ranks turned over. In: Variety 93, 2. Jan. 1929, p. 26.

Anonymous (1929) The terrible talkie. In: Review of Reviews (London) 79, June 1929, p. 148.

* On the revolutionizing effects of sound.

Anonymous (1929) Shifting values in talking pictures. In: National Board of Review Magazine 4, May 1929, pp. 8-10.

Anonymous (1929) Layout for Bulldog Drummond. In: Creative Art 5, Oct. 1929, pp. 729-734.

Anonymous (1930) The emotive influence of the cinema. In: International Review of Educational Cinematography (Rome) 2, March 1930, pp. 297-302.

Anonymous (1930) Color and sound on film. In: Fortune 2, Oct. 1930, pp. 33-35, 124, 127-128, 130.

Anonymous (1930) The poor old theatre. In: The Nation 131, 27. Aug. 1930, p. 216.

Anonymous (1930) The talkies' future. In: The Nation 130, 15. Jan. 1930, pp. 61-62.

Anonymous (1931) Der schlechte Ton. Erfahrungen und Ratschläge des technischen Kundendienstes der Ufa. Berlin: A. Scherl 1931, 39 pp.

Anonymous (1932) New art fits foreign speech to any film. In: Popular Sciences 121, Nov. 1932, pp. 36-37.

Anonymous(1932) Art, technique and internationality of the sound film. In: International Review of Educational Cinematography (Rome) 4, Dec. 1932, pp. 958-959.

Anonymous (1933) Experiments in hand drawn sound. In: The Film Society Programme (London), 10. December 1933.

Anonymous (1934) Weather Forecast. In: The Film Society Programme (London), 28. Oct. 1934.

Anonymous (1940) Ufa-Richtlinien und Bestimmungen für die tonliche Weiterbearbeitung der Filme nach Fertigstellung der Schnittkopie. Babelsberg: Ufa 1940.

Anonymous (1959) Dubbing in the voices. Also a big production. In: Life 46, 15. June 1959, pp. 79-80.

Anonymous (1961) Magnetic sound recording for motion pictures. 2nd ed. Rochester, N.Y.: Eastman Kodak 1961, 64 pp. (Kodak Publication. P-26.).

Anonymous (1964) Siemens-Klangfilm Karlsruhe. In: Filmtechnikum, 7, 1964, pp. 195-198.

Anonymous (1975) The new Swintek "Hitchhiker" cordless microphone system. In: American Cinematographer 56,6, June 1975, pp. 676-677, 720.

Anonymous (1975) [Inquiry.] In: Chaplin 4 [=139], 1975, pp. 180-206; 6 [=141], 1975, pp. 312-318.

Anonymous (1976) Time base code systems at Phozokina '76. In: American Cinematographer 57,12, Dec. 1976, pp. 1334-1335.

Anonymous (1976) Recherches sonores. In: Cinéma d'Aujourd'hui 9, Autumn 1976, pp. 109-112.

Anonymous (1978) Directors on sound. In: Take One 6,2, 1978, pp. 23-26.

Anonymous (1980) [Ciné-Magazine.] In: L'Avant-Scène Cinéma 248, 15. May 1980, pp. 31-46.

Anonymous (1982) Amsterdam-Berlijn. In: Skoop 18,2, March 1982, pp. 19-33.

Anonymous (1985) Le doublage ou "belle marquise": entretien avec Jean Yvane. In: Le Français Aujourd'hui 71, 1985, pp. 67-71.

Apon, A. (1979) Esthetiek en techniek. In: Skrien 91, Nov. 1979, pp. 14-18.

Arnheim, Rudolf (1932) Film als Kunst. Berlin: Rowohlt 1932.

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Arnheim, Rudolf (1935) Expression. In: Intercine (Roma) 7, March 1935, pp. 164-165.

Arnheim, Rudolf (1928) Der tönende Film. In: Die Weltbühne, 42, 16.10.1928, pp. 601-604.

Arnheim, Rudolf (1929) Tonfilm-Verwirrung. In: Die Weltbühne, 17, 23.4.1929, pp. 638-642.

Arnheim, Rudolf (1929) Der singende Narr. In: Die Weltbühne, 24, 11.6.1929, pp. 906-907.

Arnheim, Rudolf (1931) Tonfilm mit Gewalt. In: Vossische Zeitung, 213, 12.9.1931.

Arnheim, Rudolf (1932) Tonfilm auf Abwegen. In: Berliner Tageblatt, 124, 13.3.1932.

Arnheim, Rudolf [under the name of Robert Ambach] (1933) Geräusche in der linken Hand. In: Berliner Tageblatt, 154, 2.4.1933.

Arnheim, Rudolf (1933) Philosophie des Ach so. In: Berliner Tageblatt, 37, 22.1.1933.

Arnheim, Rudolf (1938) Nuovo Laocoonte. In: Bianco e Nero, 8, 31.8.1938, pp. 3-33.

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Arnheim, Rudolf (1977) Asynchronismus. In: Arnheim 1977, pp. 78-81.

Arnoux, Alexandre (1946) Du muet au parlant: Mémoires d'un témoin. Paris: La Nouvelle Edition 1946.

Asquith, Anthony (1931) Technique of the talking film. In: Saturday Review (London) 152, 28. Nov. 1931, p. 682.

Asquith, Anthony (1933) Rhythm in sound films. In: Cinema Quarterly 1,3, 1933, pp. 144-147.

Asquith, Anthony (1958) Wanted - a genius. In: Sight and Sound 7,25, Spring 1958, pp. 5-6.

Atkins, Irene Kahn (1983) More than meets the eye: A bibliography of music and sound in motion pictures. In Her: Source music in motion pictures. London/Toronto: Associated UP 1983, pp. 128-185.

Auriol, Jean-Georges (1929) La vilaine querelle du cinéma parlant. In: La Revue du Cinéma, 15.10.1929.

Avron, Dominique (1973) Remarques sur le travail du son dans la production cinématographique standardisée. In: Cinéma: Théorie, lectures. Textes réunis et présentés par Dominique Noguez. Paris: Klincksieck 1973, pp. 207-218 (Revue d'Esthétique. Numéro Spécial.).

Bächlin, Peter (1945) Der Film als Ware. Basel 1945.

Bachy, Victor (1965) Die menschliche Stimme - ein verkanntes Element dert Filmsprache. In: Sprache im technischen Zeitalter, 13, 1965, pp. 1039-1044.

Baggett, Patricia (1984) Role of temporal overlap of visual and auditory material in forming dual media associations. In: Journal of Educational Psychology 76, 1984, pp. 408-417.

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Bagier, Guido (1943) Das tönende Licht. Berlin: Groß 1943.

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Bakshy, Alexander (1928) The future of the movies. In: The Nation 127, 10. Oct. 1928, pp. 360, 362, 364.

Bakshy, Alexander (1929) The movie scene: Notes on sound and silence. In: Theatre Arts Monthly 13, Feb. 1929, pp. 97-107.

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Bakshy, Alexander (1930) As you were. In: The Nation 130, 22. jan. 1930, pp. 106, 108.

Bakshy, Alexander (1930) New dimensions in the talkies. In: The Nation 131, 24. Dec. 1930, pp. 702-703.

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Bakshy, Alexander (1932) Concerning dialogue. In: The Nation 135, 17. Aug. 1932, pp. 151-152.

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Betts, Ernest (1929) Going talkie. In: Close Up (London) 5, Oct. 1929, pp. 272-277.

Betts, Ernest (1929) Why "talkies" are unsound. In: Close Up (London) 4, April 1919, pp. 22-24.

Betts, Ernest (1930) All-talking, all-singing, all-nothing. In: Close Up (London) 6, June 1930, pp. 449-454.

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Beylie, Claude (1980) Jean Renoir face au cinéma parlant. In: L'Avant-Scène Cinéma, 251-252, 1980, pp. 5-19.

Bigbee, Lynn (1970) Basic elements of sound recording. In: Filmmakers Newsletter 3,12, 1970, pp. 36-42.

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Biocca, Frank A. (1988) The pursuit of sound: Radio, perception, and utopia in the early 20th century. In: Media, Culture, and Society 10,1, 1988, pp. 61-79.

Birrell, Francis (1933) How much of sound picture should be talk? In: International Review of Educational Cinematography (Roma) 5, Feb. 1933, pp. 138-141.

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Blocker, J. (1984) Synthesized sound for Brainstorm. In: American Cinematographer 65,5, 1984, pp. 95-98.

Bobrow, A.C. (1974) The art of soundman: an interview with Christopher Newman. In: Filmmakers Newsletter 7,7, 1974, pp. 24-28.

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Böhm, Hans (1933) Marksteine der deutschen Tonfilmgeschichte. In: Kinotechnik, 16, 20.8.1933. pp. 259-260.

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Borges, J.L. (1973) Sul doppiaggio. In: Filmcritica 24,238-240, 1973, p. 286.

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Braun, B. Vivian (1933) Towards true cinema: film-form the question of sound. In: Film Art (London) 1, Summer 1933, pp. 3-5.

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Brinckmann, Christine Noll (1986) Der Voice-Over als subjektivisierende Erzählstruktur des Film Noir. In: Narrativität in den Medien. Hrsg. v. Rolf Klöpfer & Karl-Dietmar Möller. Münster: MAkS Publikationen, pp. 101-118 (Papmaks. 19.).

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British Kinematograph Sound and Television Society (NKSTS) (1983) (ed.) Dictionary of audio-visual terms. London: NKSTS 1983, iv, 138 pp.

Broich, F. von (1930) Tonfilm und Industrie. In: Filmkurier v. 11.1.1930.

Brown, Ivor (1929) The theatre: to talk or not to talk? In: Saturday Review (London) 148, 7. Sept. 1929, pp. 268-269.

Brown, Bernard (1931) Talking pictures: A practical and popular account of the principles of construction and operation of the apparatus used in making and showing sound films. London: Pitman 1931, 306 pp.

Brown, Bernard (1933) Amateur talking pictures and recording. 1933.

Browne, Nick (1980) Film form / voice-over: Bresson's The Diary of a Country Priest. In: Yale French Studies, 60, 1980, pp. 233-240.

Buchanan, Andrew (1932) The birth of a notion. In His: Films: The way of the cinema. London: Pitman 1932, pp. 58-76.

Buhov, L. (1981) V poiskah zvukovoj dostovernosti. In: Iskusstvo Kino 3, March 1981, pp. 85-89.

Burch, Noel (1973) On the structural use of sound. In His Theory of film practie. New York: Praeger 1973, pp. 90-104.

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Burt, W. (1981) On the relation of sound and image in Moods. In: Cantrill's Filmnotes, 35-36, 1981, pp. 56-64.

Buscombe, Edward (1978) Sound and color. In: Jump Cut, 17, 1978, pp. 23-25.

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Callenbach, Ernest (1981) Cinema/sound. In: Film Quarterly 34,4, 1981, pp. 32-33.

Calvert, S.L. / Gersh, T.L. (1987) The selective use of sound effects and visual inserts for children's story comprehension. In: Journal of Applied Developmental Psychology 8,4, 1987, pp. 363-374.

Cameron, Evan William (ed.) (1980a) Sound and the cinema: The coming of sound to American film. Assisted by William F. Wilbert & Joan Evans-Cameron. Pleasantville, N.Y.: Redgrave 1980, 232 pp.

Cameron, Evan William (1980b) Citizen Kane: The influence of radio drama on cinematic design. In: Cameron 1980a, pp. 202-216.

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