“Descartes’s Resonant Subject.” differences: A Journal of Feminist Cultural Studies 22 (2–3): 10–30.įitch, Tecumseh, Jürgen Neubauer, and Hanspeter Herzel. Edvard Munch: The Frieze of Life from Painting to Graphic Art. London: British Film Institute.ĭostoyevsky, Fyodor. Film and Television Music: The Spectre of Sound. Minneapolis: University of Minnesota Press.ĭonnelly, Kevin. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press.ĭeleuze, Gilles, and Félix Guattari. Minneapolis: University of Minnesota Press. New York: Oxford University Press.ĭeleuze, Gilles. Carol Vernallis, Amy Herzog, and John Richardson, 115–126. “Dirty Sound: Haptic Noise in New Extremism.” In The Oxford Handbook of Sound and Image in Digital Media, ed. “Haptic Aurality: Resonance, Listening and Michael Haneke.” Film-Philosophy 16 (1): 16–29. New York: Columbia University Press.Ĭoulthard, Lisa. Larry Sider, Jerry Sider, and Diane Freeman, 150–154. “The Silence of the Loudspeakers, or Why with Dolby Sound It Is the Film that Listens to Us.” In Soundscape: The School of Sound Lectures, 1998–2001, ed. Basingstoke: Palgrave Macmillan.Ĭhion, Michel. Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture. “Do Film Soundtracks Contain Nonlinear Analogues to Influence Emotion?” Biology Letters 6: 751–754.īordwell, David.
Manchester: Manchester University Press.īlumstein, Daniel T., Richard Davitian, and Peter D. Urbana: University of Illinois Press.īirtwistle, Andy. Lowering the Boom: Critical Studies in Film Sound. New Brunswick: Rutgers University Press.īeck, Jay, and Tony Grajeda, eds. Designing Sound: Audiovisual Aesthetics in 1970s American Cinema. “The Startle Effect: Implications for Spectator Cognition and Media Theory.” Film Quarterly 53 (3): 12–24.īeck, Jay. Montreal: McGill-Queen’s University Press.īaird, Robert. Sonic Experience: A Guide to Everyday Sounds. Rome: Film Duemila.Īugoyard, Jean-François, and Henry Torgue. New York: Routledge.Īntonioni, Michelangelo. , Cinesonica: Sounding Film and Video (Manchester: Manchester University Press, 2010).Īltman, Rick, ed. , Sound Design & Science Fiction (Austin, TX: University of Texas Press, 2007) Anahid Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music (New York: Routledge, 2001) Kevin Donnelly, Film and Television Music: The Spectre of Sound (London: British Film Institute, 2005) Andy Birtwistle
(New York: Columbia UP, 2009) Elisabeth Weis and John Belton, eds., Film Sound: Theory and Practice (New York: Columbia UP, 1985) Elisabeth Weis, The Silent Scream: Alfred Hitchcock’s Sound Track (Rutherford, N.J.: Fairleigh Dickinson University Press, 1982) Rick Altman, ed., Sound Theory/Sound Practice (New York: Routledge, 1992) Jay Beck and Tony Grajeda, eds., Lowering the Boom: Critical Studies in Film Sound (Urbana, IL: University of Illinois Press, 2008) Jay Beck, Designing Sound: Audiovisual Aesthetics in 1970s American Cinema (New Brunswick, New Jersey: Rutgers University Press, 2016) William Whittington , Film, A Sound Art, translated by Claudia Gorbman (New York: Columbia UP, 1999) Michel Chion , The Voice in Cinema, translated by Claudia Gorbman (New York: Columbia UP, 1994) Michel Chion , Audio-Vision: Sound on Screen, translated by Claudia Gorbman This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. Through advanced spectral and surround field analysis and a careful consideration of elements such as the interrelations between noise and silence, the function of ambient drones and sonic palimpsests, and the status of the acousmatic voice, Brown illuminates how soundscapes contribute to the construction of horror as a space for what he calls “haptic sonority,” an intensive space where one does not so much hear sounds as one feels them in one’s body. Hardly any research has been done on sound design in Japanese horror, yet it remains one of the most productive means by which J-horror distinguishes itself from other forms of horror. Brown explores how sound flows modulate affective and noncognitive responses to the ambient horror films of Kurosawa Kiyoshi.