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Approaches to Sound Design: Murch and Burtt

Approaches to Sound Design: Murch and Burtt GUSTAVO COSTANTINI Approaches to Sound Design: Murch and Burtt Over the last forty years, we have become familiar with the terms ‘sound design’ and ‘sound designer’. We know that the credit was coined by Francis Ford Coppola for Apocalypse Now (1979), acknowledging Walter Murch’s contribution to the pioneering soundtrack. Since then, we under- stand that a person – with varying responsibilities – is responsible for a film’s sound like the Director of Photography is for the image. Nevertheless, we could say that sound design was there from even before the ‘official’ birth of Cinema in December 1895, in Café de la Paix in Paris, when the Lumière brothers projected their ‘views’. Around the time of the 100th birthday of Cinema, scholars and researchers all over the world were rediscovering the origins of this art by developing a true archeology of the medium. There was a fascination with the ways the kinetoscope, the cinematograph – and other means of reproducing moving images – started it all. This produced unexpected consequences in the study of early cinema, and one of the most interesting aspects was rethinking the role of sound. A leading figure in this area is Rick Altman, whose extraordinary http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Approaches to Sound Design: Murch and Burtt

The New Soundtrack , Volume 8 (2): 6 – Sep 1, 2018

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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2018.0129
Publisher site
See Article on Publisher Site

Abstract

GUSTAVO COSTANTINI Approaches to Sound Design: Murch and Burtt Over the last forty years, we have become familiar with the terms ‘sound design’ and ‘sound designer’. We know that the credit was coined by Francis Ford Coppola for Apocalypse Now (1979), acknowledging Walter Murch’s contribution to the pioneering soundtrack. Since then, we under- stand that a person – with varying responsibilities – is responsible for a film’s sound like the Director of Photography is for the image. Nevertheless, we could say that sound design was there from even before the ‘official’ birth of Cinema in December 1895, in Café de la Paix in Paris, when the Lumière brothers projected their ‘views’. Around the time of the 100th birthday of Cinema, scholars and researchers all over the world were rediscovering the origins of this art by developing a true archeology of the medium. There was a fascination with the ways the kinetoscope, the cinematograph – and other means of reproducing moving images – started it all. This produced unexpected consequences in the study of early cinema, and one of the most interesting aspects was rethinking the role of sound. A leading figure in this area is Rick Altman, whose extraordinary

Journal

The New SoundtrackEdinburgh University Press

Published: Sep 1, 2018

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