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CINEMA --- COULEUR DANS LES FILMS --- FILMS DOCUMENTAIRES --- SON AU CINEMA --- THEATRE ET LE CINEMA --- PREHISTOIRE --- TECHNIQUE

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CINE-OEIL --- CINEMA --- CINEMA D'AVANT-GARDE --- CINEMA-VERITE --- FILMS DOCUMENTAIRES --- SON AU CINEMA --- VERTOV, DZIGA (DENIS ARKADIEVITCH KAUFMAN, DIT) (1895-1954) --- ORIGINES --- UNION SOVIETIQUE

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"Jim Jarmusch: Music, Words and Noise is the first book to examine the films of Jim Jarmusch from a sound-oriented perspective. Exploring the director's extensive filmography, including Stranger Than Paradise (1984), Down By Law (1986), Dead Man (1995) and Only Lovers Left Alive (2013), Sara Piazza identifies the three essential acoustic elements that structure film: music, words and noise. Through this unique reading, she reveals how Jarmusch created a form of 'sound democracy' in film, in which the audible and visual are equally important and different acoustic layers can infiltrate each other. In his cultural melting pot, 'high' and 'low' coexist: Schubert and Japanese noise bands, Christopher Marlowe and Betty Boop, Bartók, and Wu-Tang Clan. Jarmusch's distinctive reputation, consolidated over the course of a 30-year career and created by drawing together music, cinema, visual art and literature, is deeply connected to his treatment of sound. Based in New York, Jarmusch was able to develop a fiercely personal vision far from the commercial pressures of Hollywood. This book features original, illuminating interviews with many prominent figures from the film, literary and music worlds, including Ennio Morricone, Luc Sante, Roberto Benigni, John Lurie and Jim Jarmusch himself. A fascinating account of a much-admired body of work, Jim Jarmusch will appeal not only to fans of his work but to all those interested in the connections between sound and film."--Page [4] of cover.

Geluid in de film --- Son dans le film --- Sound in motion pictures --- Motion picture producers and directors --- Sound in motion pictures. --- Producteurs et réalisateurs de cinéma --- Son au cinéma --- Jarmusch, Jim, --- Criticism and interpretation --- Producteurs et réalisateurs de cinéma --- Son au cinéma --- Jarmusch, Jim --- United States --- Criticism and interpretation.

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Motion pictures --- Moving-pictures --- Moving-pictures, Talking --- Sound motion pictures. --- Sound --- Aesthetics. --- Aesthetics --- Addresses, essays, lectures. --- Recording and reproducing --- Recording and reproducing. --- Edited by Elisabeth Weis and John Belton --- film --- filmtheorie --- filmtechniek --- geluid --- geluidstechniek --- klank --- 791.41 --- Sound motion pictures --- Disk recording --- Recording of sound --- Reproducing of sound --- Sound recording and reproducing --- Sounds --- Talkies --- Talking motion pictures --- Esthetique du cinema --- Son au cinema

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The seemingly effortless integration of sound, movement, and editing in films of the late 1930's stands in vivid contrast to the awkwardness of the first talkies. Film Rhythm after Sound analyzes this evolution via close examination of important prototypes of early sound filmmaking, as well as contemporary discussions of rhythm, tempo, and pacing. Jacobs looks at the rhythmic dimensions of performance and sound in a diverse set of case studies: the Eisenstein-Prokofiev collaboration Ivan the Terrible, Disney's Silly Symphonies and early Mickey Mouse cartoons, musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks's films. Jacobs argues that the new range of sound technologies made possible a much tighter synchronization of music, speech, and movement than had been the norm with the live accompaniment of silent films. Filmmakers in the early years of the transition to sound experimented with different technical means of achieving synchronization and employed a variety of formal strategies for creating rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm and pacing, as was the case in mickey mousing, the close integration of music and movement in animation. However, by the mid-1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs's highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies.

Sound in motion pictures. --- Motion picture music. --- Dialogue in motion pictures. --- Motion pictures --- Rhythm. --- Son au cinéma --- Film, Musique de --- Dialogue au cinéma --- Cinéma --- Rythme --- Production and direction. --- Production et réalisation --- PERFORMING ARTS --- Reference. --- Film & Video --- General. --- Music --- Film --- Performing arts --- Film & video --- Son au cinéma --- Dialogue au cinéma --- Cinéma --- Production et réalisation --- Aesthetics --- Movement, Psychology of --- Poetics --- Cycles --- Movement, Aesthetics of --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Film dialogue --- Movie dialogue --- Background music for motion pictures --- Film music --- Film scores --- Movie music --- Moving-picture music --- Dramatic music --- Production and direction --- Direction --- animated films. --- animation. --- case studies. --- dialogue. --- disneys silly symphonies. --- eisenstein-prokofiev collaboration. --- film and television. --- film editing. --- film history. --- film music. --- film rhythm. --- film studies. --- film. --- filmmaking. --- first talkies. --- ivan the terrible. --- mickey mouse cartoons. --- movement in film. --- movies. --- music track. --- musicals. --- pacing. --- performance and sound. --- rhythm. --- sound film practices. --- sound in film. --- sound studies. --- sound technologies. --- sound. --- synchronized sound. --- technology. --- tempo.