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AT LEAST HALF THE PICTURE: SOUND AND NARRATION IN
THE POSTWAR / PRE-DOLBY AMERICAN FILM
by
Paul N. Reinsch
A Dissertation Presented to the
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(CINEMA-TELEVISION (CRITICAL STUDIES))
August 2008
Copyright 2008 Paul N. Reinsch
Object Description
| Title | At least half the picture: sound and narration in the postwar / pre-Dolby American film |
| Author | Reinsch, Paul N. |
| Author email | preinsch@usc.edu |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Cinema-Television (Critical Studies) |
| School | School of Cinema-Television |
| Date defended/completed | 2008-05-27 |
| Date submitted | 2008 |
| Restricted until | Unrestricted |
| Date published | 2008-07-24 |
| Advisor (committee chair) | James, David E. |
| Advisor (committee member) |
Braudy, Leo Jewell, Richard |
| Abstract | This dissertation: (a) argues that the time between the end of World War Two and the introduction of Dolby technology constitutes a distinct historical period in the American sound film and labels this the "postwar / pre-Dolby era"; (b) offers case studies of Hollywood films, avant-garde films, documentary films, and an animated film from the identified time period; and (c) on the basis of these case studies, complicates the synchronous / a synchronous dichotomy, the diegetic / nondiegetic binary, and the classical hierarchy of image over sound. In sum, the dissertation argues that the study of film history needs to more fully acknowledge the centralityof sound and the study of film sound needs to become more historical.; The dissertation discusses changes in the production, aesthetics and exhibition of American films in the postwar / pre-Dolby era. Films in this period present sound as something more than a support for the image and narrative. The foregrounding of sound in film narration is a return to the uncontrolled sound of the pre-classical era and explains the uses and presentation of sound in the Dolby era. This leads to a reconfiguration of the classical period's limitations on sound as the exception, rather than the norm, of cinema. The discussion puts forth a theorization of film narration as the combination of sound and image because film is an audiovisual medium.; Topics also include: magnetic sound, stereo sound, surround sound, voiceover narration, the use of rock music as performance and underscore, the direct aural address of the audience, and the combination of voice and body in films that admit the two do not naturally or inevitably belong together. |
| Keyword | American film; sound |
| Geographic subject (country) | USA |
| Coverage date | 1948/1980 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Type | texts |
| Legacy record ID | usctheses-m1388 |
| Rights | Reinsch, Paul N. |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | http://www.usc.edu/isd/libraries/services/ask_a_librarian/email/ |
| Filename | etd-Reinsch-20080724 |
| Archival file | uscthesesreloadpub_Volume17/etd-Reinsch-20080724.pdf |
Description
| Title | Page 1 |
| Full text | AT LEAST HALF THE PICTURE: SOUND AND NARRATION IN THE POSTWAR / PRE-DOLBY AMERICAN FILM by Paul N. Reinsch A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (CINEMA-TELEVISION (CRITICAL STUDIES)) August 2008 Copyright 2008 Paul N. Reinsch |
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