Intermedial combinations

Arvidson, Mats; Askander, Mikael; Borčak, Lea Wierød; Jensen, Signe Kjaer; Mousavi, Nafiseh

doi:10.4324/9781003174288-8

Cited by 5 publications

(4 citation statements)

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“…c. Although the boundaries between sound effects and film music are getting increasingly blurry in fiction films (Kulezic-Wilson 2020), sound effects (sometimes referred to as sound design) are often treated, if not defined, as a separate medium both in film production and in academic analysis, along the lines of film music (see, for example, Collins 2020; Greene and Kulezic-Wilson 2016; Theme Ament 2014; Whittington 2007). As I have argued elsewhere (Arvidson et al 2022;Jensen 2021, sound effects should be considered a qualified medium (cf., Elleström 2021), or perhaps rather a qualified submedium. d. The exact year of Amin and his family's escape from Afghanistan is not clear.…”

Section: S48mentioning

confidence: 99%

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Flee: Sounds of Fright and Flight

Jensen

2023

European Review

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Animation and live-action are two closely related media, which are foremost distinguished by the ideas and conventions surrounding them. The diverging discourses around animation and live action have tended to focus on animation as something constructed to represent characters and settings and on live action as something capturing actors and sets representing characters and settings. This difference between constructing and capturing, along with the perceived indexicality of the photo, is what seems to suggest live action as the preferred medium for documenting real events. Sound effects, in the form of recorded and edited sounds of objects, actions and environments, are of particular interest here, as they can be considered to balance somewhere between these poles of construction and capture, between the non-indexical and indexical, and ultimately between representation and reproduction. In this article, I will focus on aspects of ‘truth’ (understood as corresponding to some external reality) and ‘realism’ (understood as a representation of external reality) and how something comes to be perceived as truthful or realistic in animated documentaries in relation to the role played by sound effects. By discussing the Danish film Flugt [Flee], I will show how sound effects can aid in creating representations of truth.

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Section: S48mentioning

confidence: 99%

“…As I have argued elsewhere (Arvidson et al . 2022; Jensen 2021, 2022), sound effects should be considered a qualified medium (cf., Elleström 2021), or perhaps rather a qualified sub-medium.…”

Section: Notesmentioning

confidence: 99%

Flee: Sounds of Fright and Flight

Jensen

2023

European Review

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“…Mats Arvidson et al (2022) explain that in a film sound effects have the primary objective of enhancing certain diegetic aspects related to the moving images through sounds. As the authors explain, the capture of these types of sounds is not done simultaneously with the capture of the moving images because noises and other phenomena are often present in the scene.…”

Section: Mediality Between Cinema and The Audiobookmentioning

confidence: 99%

“…But let's note that even so, deiction and depiction can be confused because, as perceivers, we are not sure if that sound was actually produced by the object it represents-either replacing it or associating with it. As pointed out by Arvidson et al (2022), sound effects are like symbolic signs, but of an iconic nature because they represent parts of reality. At the same time, they are indexical in the absence of images.…”

Section: Soundtrack From Film To Audiobookmentioning

confidence: 99%

From Cinema to Audiobook: Sharing Media Features

Garcia¹,

Domingos²

2023

Ekphrasis

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This essay is part of a research project that seeks to analyze, based on Intermediality, the boundaries between sound media products such as audiobooks and podcasts. One of the conclusions of this larger project is in the way fictional sound media use cinema features to create what we can understand as immersion in the narrative diegesis. In this essay, we show how cinema, as a type of multimodal media, becomes fundamental to the construction of features for fiction audiobooks, such as tracks and sound effects, as well as vocal performance, a feature that, along with the rhythm, is the oldest in literary history. Using Lars Elleström's model in The modalities of media II (2020) and analyzing different audiobooks, we establish some categories. For soundtracks: iconic, based on the similarity with non-musical elements (Mickey Mousing); symbolic, the conventions in rhythms and other musical elements; and indexical, which refers to the manifestation of time, geographical location, or specific social group. Sound effects are distinguished into depictional sounds (to illustrate actions), deictional sounds (to create ambiance), and descriptional sounds (by convention). The methodology is comparative, seeking similarities and differences between these sound media products. Our intention is to expand Elleström's model so that it can support the understanding of these new-and not-so-new-qualified media types. In addition to Elleström's theories, we also bring those of Agnes Petho, Jorgen Bruhn and André Bazin.

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Lyrik intermedial transformiert: Zu Ingrid Gaiers filmischer Adaption von Melitta Urbancics Gedicht Lava-Garten

Hauber

2024

Studia Neophilologica

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Intermedial combinations

Cited by 5 publications

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Flee: Sounds of Fright and Flight

Flee: Sounds of Fright and Flight

From Cinema to Audiobook: Sharing Media Features

Lyrik intermedial transformiert: Zu Ingrid Gaiers filmischer Adaption von Melitta Urbancics Gedicht Lava-Garten

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