Module Descriptors
HEARING MOVIES
FTVR50433
Key Facts
Faculty of Arts and Creative Technologies
Level 5
15 credits
Contact
Leader: Christopher Manuel
Email: C.J.Manuel@staffs.ac.uk
Hours of Study
Scheduled Learning and Teaching Activities: 36
Independent Study Hours: 114
Total Learning Hours: 150
Assessment
- COURSEWORK -ESSAY weighted at 100%
Module Details
Module Additional Assessment Details
Meeting Learning Outcomes 1-3
Key Information Set Data:
100% Coursework
Key Information Set Data:
100% Coursework
Module Indicative Content
This module examines the nature and conventions of sound design in narrative cinema.
This includes the following:
The role of the Sound Designer and Foley Artists.
The conditions of listening in cinemas and the effect of these on audiences' experience of films.
The conventional uses and effects of music, speech, sound effects and silence in films.
The work of leading and influential sound designers and sound-conscious film directors.
Historical developments in the practices and technology of film sound.
This includes the following:
The role of the Sound Designer and Foley Artists.
The conditions of listening in cinemas and the effect of these on audiences' experience of films.
The conventional uses and effects of music, speech, sound effects and silence in films.
The work of leading and influential sound designers and sound-conscious film directors.
Historical developments in the practices and technology of film sound.
Module Resources
Library, Internet, Media Lab, Film Theatre or Lecture Theatre with video projection and speakers, TV/DVD/VHS Playback.
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.
Module Learning Strategies
Varied and flexible teaching and learning methods will be employed aiming to develop the students' analytical and research skills in terms of sound.
These will include:
Lectures on key areas of research film sound and some introductory exercises.
Textual analyses of those films selected for screening.
The reading of selected articles and discussions relating to this reading.
Key Information Set Data:
24% Scheduled Teaching & Learning Activities
76% Guided Independent Learning
These will include:
Lectures on key areas of research film sound and some introductory exercises.
Textual analyses of those films selected for screening.
The reading of selected articles and discussions relating to this reading.
Key Information Set Data:
24% Scheduled Teaching & Learning Activities
76% Guided Independent Learning
Module Texts
Rick Altman, Sound Theory, Sound Practice (London: Routledge, 1992)
Michel Chion, Audio-Vision: Sound on Screen (New York: Columbia University Press, 1990)
Claudia Gorbman, Unheard Melodies: Narrative Film Music (Bloomington & Indiana: Indiana University Press, 1987)
Sarah Kozloff, Overhearing Film Dialogue (Berkeley, CA: University of California, 2000)
Vincent LoBrutto, Sound-on-Film: Interviews with creators of film sound (London: Praeger, 1994)
Gianluca Sergi, 'A Cry in the Dark: the Role of Postclassical Film Sound' in Steve Neale and Murray Smith (eds.) Contemporary Hollywood Cinema (London: Routledge, 1998)
David Sonnenschein, Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema (Los Angeles: Micheal Wiese, 2001)
Michel Chion, Audio-Vision: Sound on Screen (New York: Columbia University Press, 1990)
Claudia Gorbman, Unheard Melodies: Narrative Film Music (Bloomington & Indiana: Indiana University Press, 1987)
Sarah Kozloff, Overhearing Film Dialogue (Berkeley, CA: University of California, 2000)
Vincent LoBrutto, Sound-on-Film: Interviews with creators of film sound (London: Praeger, 1994)
Gianluca Sergi, 'A Cry in the Dark: the Role of Postclassical Film Sound' in Steve Neale and Murray Smith (eds.) Contemporary Hollywood Cinema (London: Routledge, 1998)
David Sonnenschein, Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema (Los Angeles: Micheal Wiese, 2001)