Electroacoustic composition and the British documentary tradition

Birtwistle, A. (2016) Electroacoustic composition and the British documentary tradition. In: Greene, L. and Kulezic-Wilson, D., eds. Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. Basingstoke: Palgrave Macmillan. pp. 387-402 ISBN 9781137516794

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Abstract

This chapter considers how the blurring of sound design and music, often seen as a feature of contemporary cinema, developed within earlier forms of cinematic expression. Focusing on British documentary cinema, Andy Birtwistle examines innovative uses of sound in documentary filmmaking, paying particular attention to forms of cinematic musique concrète that emerged following early experimentation with film sound technology in the 1930s. Considering key works by directors Basil Wright and Geoffrey Jones, and composers Walter Leigh, Daphne Oram and Tristram Cary, the chapter considers the ways in which filmmakers and composers working in documentary have manipulated and organized recorded sound, producing forms of electroacoustic practice that prefigure and parallel the radical developments that took place in modern music after World War II.

Item Type: Book Section
Subjects: M Music and Books on Music > M Music > M0005 Instrumental music > M0176 Motion picture music
M Music and Books on Music > MT Musical instruction and study > MT0170 Instrumental techniques > MT0737 Motion picture accompanying
Divisions: Faculty of Arts and Humanities > School of Media Art and Design
Depositing User: Dr Andy Birtwistle
Date Deposited: 17 Feb 2017 11:31
Last Modified: 17 Feb 2017 11:31
URI: https://create.canterbury.ac.uk/id/eprint/15589

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Last edited: 29/06/2016 12:23:00