000			02130nmm a2200313 i 4500
005			20230705144812.0
008			210215s2021 enk ob 101 0 eng d
020			_a9781501359194 _q(online)
020			_z9781501359200 _q(PDF)
020			_a9781501359217 _q(ePub)
020			_z9781501378539 _q(softback)
020			_z9781501359224 _q(hardback)
082			_a791.4302/4 _223
100			_aAment, Vanessa Theme, _eauthor. _918604
245			_aDivergent tracks : _bhow three film communities revolutionized digital film sound / _cVanessa Theme Ament.
250			_aFirst edition.
260			_aLondon [England] : _bBloomsbury Academic, _c2021
264			_a[London, England] : _bBloomsbury Publishing, _c2021
300			_a1 online resource (176 pages).
504			_aIncludes bibliographical references and index.
520			_a"By examining three case studies of award-winning soundtracks from cult films- Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Vanessa Ament, author of The Foley Grail (2009), rather than defining the 1990s as an era of technological determinism-a superficial reading-it is best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work."-- _cProvided by publisher.
650			_aSound _xRecording and reproducing _xDigital techniques. _918605
650			_aComputer sound processing. _918606
650			_aMotion pictures _xSound effects. _918607
650			_aDigital cinematography. _918608
650			_aFilm theory & criticism _2bicssc _918609
856			_3Abstract with links to full text _uhttps://doi.org/10.5040/9781501359194?locatt=label:secondary_bloomsburyCollections _qtext/html
942			_cEBK
999			_c13323 _d13323