{"product_id":"9781350382176","title":"Film Sound Modernism","description":"\u003ch1\u003eFilm Sound Modernism\u003c\/h1\u003e\u003ch3\u003eAndy Birtwistle\u003c\/h3\u003e\u003cdiv\u003e\u003cb\u003ePerforming Arts \/ Film \/ General\u003c\/b\u003e\u003c\/div\u003e\u003cbr\u003e\u003cdiv\u003e\u003cp\u003e\u003cb\u003eDespite the key contribution of sound to the development of cinema as a modern (and modernist) art form, analyses of the relationship between film and modernism often overlook the key role played by sound in film\u003c\/b\u003e.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFilm Sound Modernism\u003c\/i\u003e addresses this critical neglect by exploring how speech, music and sound effects have been used by filmmakers to articulate the conditions and experiences of modernity. Through a wide-ranging analysis of international films, including those from Taiwan, Mexico, Poland and Hong Kong, Andy Birtwistle approaches modernism as both a trans-historical and trans-national phenomenon. \u003cbr\u003e\u003cbr\u003eHe provides close readings of key examples of experimental and art cinema, including \u003ci\u003eThe Forgotten Village\u003c\/i\u003e (1941), \u003ci\u003eL'avventura\u003c\/i\u003e (1960), \u003ci\u003eRiddles of the Sphinx\u003c\/i\u003e (1977), \u003ci\u003eThe Terrorizers\u003c\/i\u003e (1986) and \u003ci\u003ePerestroika\u003c\/i\u003e (2009). He then goes on to tackle topics including the use of environmental sounds in the films of Michelangelo Antonioni, Tsai Ming-liang, and Edward Yang, the voices of non-actors and artist filmmakers, and the ways in which forms of creative noise challenge the traditional division of the soundtrack into dialogue, music and effects. In doing so, he investigates the forms of sonic and audio-visual experimentation that developed within the medium and re-examines cinema's place within the broader history of modernism.\u003c\/p\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eAndy Birtwistle \u003c\/b\u003eis Reader in Film and Sound at Canterbury Christ Church University, UK. He is author of \u003ci\u003eCinesonica: Sounding Film and Video\u003c\/i\u003e (2010). His research interests include film sound, avant-garde film and art cinema, and sonic arts. His writing has been published in\u003ci\u003e The Journal of Sound and Culture of British Cinema and Television\u003c\/i\u003e, \u003ci\u003eJournal of British Cinema and Television\u003c\/i\u003e, \u003ci\u003eThe New Soundtrack, \u003c\/i\u003eand \u003ci\u003eVisual Culture in Britain\u003c\/i\u003e.\u003c\/div\u003e\u003cbr\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003ePublication Date: \u003c\/td\u003e\n\u003ctd\u003e24 June 2027\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePublisher: \u003c\/td\u003e\n\u003ctd\u003eBloomsbury Academic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eImprint: \u003c\/td\u003e\n\u003ctd\u003eBritish Film Institute\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eISBN-13: \u003c\/td\u003e\n\u003ctd\u003e9781350382176\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat: \u003c\/td\u003e\n\u003ctd\u003ePaperback \/ softback\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePage Count: \u003c\/td\u003e\n\u003ctd\u003e248\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWeight (oz): \u003c\/td\u003e\n\u003ctd\u003e16.0\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e","brand":"Bloomsbury Academic","offers":[{"title":"Default Title","offer_id":51197455302796,"sku":"9781350382176","price":35.96,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0710\/9545\/1788\/files\/getimage_8ac6d72a-77ea-441c-b413-d0487fbd459a.jpg?v=1782962511","url":"https:\/\/fh90cf-fv.myshopify.com\/products\/9781350382176","provider":"Late Knight Books and Services, LLC","version":"1.0","type":"link"}