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"Surround sound is often mistaken as a relatively new phenomenon in cinemas, one that emerged in the 1970s with the arrival of Dolby. Making Stereo Fit shows how Hollywood studios have instead been implementing surround-sound techniques for the past century and argues that their endurance owes primarily to the long-standing economic tension between stereophonic and monophonic sound. Throughout the book, Eric Dienstfrey analyzes newly discovered archival materials, as well as a myriad of stereo releases from Hell's Angels (1930) to Get Out (2017), to examine how Hollywood's dependence on single-channel sound left filmmakers unable to fully realize the aesthetic potential of surround sound. Though studios initially experimented with stereo's unique affordances, Dienstfrey details how film sound designers eventually codified a conservative set of surround-sound conventions that prevail today, despite the arrival of more immersive technologies"--
Buchkauf
Making Stereo Fit, Eric Dienstfrey
- Sprache
- Erscheinungsdatum
- 2024
- product-detail.submit-box.info.binding
- (Paperback)
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- Titel
- Making Stereo Fit
- Untertitel
- The History of a Disquieting Film Technology
- Sprache
- Englisch
- Autor*innen
- Eric Dienstfrey
- Erscheinungsdatum
- 2024
- Einband
- Paperback
- Seitenzahl
- 310
- ISBN10
- 0520379551
- ISBN13
- 9780520379558
- Reihe
- Schlagwörter
- Sachbücher, Kunst & Kultur, Hobby, Filmthema, Film
- Bewertung
- 4,5 von 5 Sternen
- Beschreibung
- "Surround sound is often mistaken as a relatively new phenomenon in cinemas, one that emerged in the 1970s with the arrival of Dolby. Making Stereo Fit shows how Hollywood studios have instead been implementing surround-sound techniques for the past century and argues that their endurance owes primarily to the long-standing economic tension between stereophonic and monophonic sound. Throughout the book, Eric Dienstfrey analyzes newly discovered archival materials, as well as a myriad of stereo releases from Hell's Angels (1930) to Get Out (2017), to examine how Hollywood's dependence on single-channel sound left filmmakers unable to fully realize the aesthetic potential of surround sound. Though studios initially experimented with stereo's unique affordances, Dienstfrey details how film sound designers eventually codified a conservative set of surround-sound conventions that prevail today, despite the arrival of more immersive technologies"--