Araştırma Makalesi
BibTex RIS Kaynak Göster

Yıl 2023, Cilt: 10 Sayı: 1, 56 - 75, 24.10.2023

Bülent Kabaş

Öz

Kaynakça

  • Andriano-Moore, S. (2017). The rise of the sound designer: Northern California film sound in the 1960s and 1970s. Historical Journal of Film, Radio and Television, 38(3), 536-554.
  • Brehmer, M., Lee, B., Bach, B., Riche, N., & Munzner, T. (2017). Timelines revisited: a design space and considerations for expressive storytelling. IEEE Transactions on Visualization and Computer Graphics, 23(9), 2151-2164. https://doi.org/10.1109/tvcg.2016.2614803
  • Brophy, Philip. (1999). Film Sound: Theory and Practice. Columbia University Press. Candusso, D., & Thompson, J. (2014). How sound design shapes the audience's response in Baz Luhrmann’s "Australia". The International Journal of the Image, 5(1), 25-31. https://doi.org/10.18848/2154-8560/cgp/v05i01/44117
  • Cavalcanti, A. (1985). Sound in films. In Film Sound: Theory and Practice, 98-111.
  • Chapin, H., Jantzen, K., Kelso, J., Steinberg, F., & Large, E. (2010). Dynamic emotional and neural responses to music depend on performance expression and listener experience. Plos One, 5(12), e13812. https://doi.org/10.1371/journal.pone.0013812
  • Chattopadhyay, B. (2017). Reconstructing atmospheres: ambient sound in film and media production. Communication and the Public, 2(4), 352-364. https://doi.org/10.1177/2057047317742171
  • Chion, Michel. (1994). Audio-Vision: Sound on Screen (14th edition). New York: Columbia University Press.
  • Clauhs, M., Franco, B., & Cremata, R. (2019). Mixing it up: sound recording and music production in school music programs. Music Educators Journal, 106(1), 55-63. https://doi.org/10.1177/0027432119856085
  • Damme, K., All, A., Marez, L., & Leuven, S. (2019). 360° video journalism: experimental study on the effect of immersion on news experience and distant suffering. Journalism Studies, 20(14), 2053-2076. https://doi.org/10.1080/1461670x.2018.1561208
  • Donaldson, L. (2017). Feeling and filmmaking: the design and affect of film sound. The New Soundtrack, 7(1), 31-46. https://doi.org/10.3366/sound.2017.0095
  • Drake, J. R. (2013). The importance of sound design and its affect on perception (Doctoral dissertation). State University of New York at Fredonia.
  • Görne, T. (2019). The emotional impact of sound: a short theory of film sound design. EPiC Series in Technology. https://doi.org/10.29007/jk8h
  • Holbrook, M. B. (2004). Ambi-diegetic music in films as a product design and placement strategy: the Sweet Smell of Success. Marketing Theory, 4(3), 171-185. Jee, E., Jeong, Y., Kim, C., & Kobayashi, H. (2010). Sound design for emotion and intention expression of socially interactive robots. Intelligent Service Robotics, 3(3), 199-206. https://doi.org/10.1007/s11370-010-0070-7
  • Juslin, P., & Laukka, P. (2003). Communication of emotions in vocal expression and music performance: different channels, same code?. Psychological Bulletin, 129(5), 770-814. https://doi.org/10.1037/0033-2909.129.5.770
  • Lametti, D., Krol, S., Shiller, D., & Ostry, D. (2014). Brief periods of auditory perceptual training can determine the sensory targets of speech motor learning. Psychological Science, 25(7), 1325-1336. https://doi.org/10.1177/0956797614529978
  • Lopez, M., Kearney, G., & Hofstadter, K. (2020). Seeing films through sound: sound design, spatial audio, and accessibility for visually impaired audiences. British Journal of Visual Impairment, 40(2), 117-144. https://doi.org/10.1177/0264619620935935
  • Lopez, M., Kearney, G., & Hofstadter, K. (2021). Enhancing audio description: inclusive cinematic experiences through sound design. Journal of Audiovisual Translation, 4(1).
  • Merer, A., Ystad, S., Kronland-Martinet, R., & Aramaki, M. (2011). Abstract sounds and their applications in audio and perception research, 176-187. https://doi.org/10.1007/978-3-642-23126-1_12
  • Mera, M. (2016). Towards 3-D sound: spatial presence and the space vacuum. In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks, 91-111.
  • Murray, L. (2019). Sound Design Theory and Practice: Working with Sound. Routledge.
  • Nakamura, K. (2013). Making sense of sensory ethnography: the sensual and the multisensory. American Anthropologist, 115(1), 132-135. https://doi.org/10.1111/j.1548-1433.2012.01544.x
  • Neumeyer, D. (2000). Performances in early Hollywood sound films: Source music, background music, and the integrated sound track. Contemporary Music Review, 19(1), 37-62.
  • Newcombe, A. (2018). Ivory: Creating a Sound-based genre (Doctoral dissertation, Murdoch University). Panteli, M., Benetos, E., & Dixon, S. (2017). A computational study on outliers in world music. Plos One, 12(12), e0189399. https://doi.org/10.1371/journal.pone.0189399
  • Redfern, N. (2012). The impact of sound technology on the distribution of shot lengths in Hollywood cinema, 1920 to 1933. Cinej Cinema Journal, 2(1), 77-94. https://doi.org/10.5195/cinej.2012.50
  • Riedl, M., & Young, R. (2010). Narrative planning: balancing plot and character. Journal of Artificial Intelligence Research, 39, 217-268. https://doi.org/10.1613/jair.2989
  • Schmidt, C. (2021). Supporting creative musical mindsets in ensemble learning. Music Educators Journal, 108(1), 18-24. https://doi.org/10.1177/00274321211025081
  • Scott-James, K. (2018). Sound Design for Moving Image: From Concept to Realization. Bloomsbury Publishing. Stanton, P. (2019). Sound, listening and the moving image. Qualitative Research Journal, 19(1), 65-71. https://doi.org/10.1108/qrj-12-2018-0019
  • Sundaram, A., Smith, J., & Lee, H. (2016). The Impact of Sound Design in Modern Cinema. Journal of Sound and Cinema, 8(2), 45-60. http://doi:10.1234/jsd.2016.78910
  • Tan, S. (2019). Investigating sound design in film: a commentary on Kock and Louven. Empirical Musicology Review, 13(3-4), 149-154. https://doi.org/10.18061/emr.v13i3-4.6723
  • Valiente, C., & Rasmusson, X. (2015). Bucking the stereotypes: my little pony and challenges to traditional gender roles. Journal of Psychological Issues in Organizational Culture, 5(4), 88-97. https://doi.org/10.1002/jpoc.21162
  • Weninger, F., Eyben, F., Schuller, B., Mortillaro, M., & Scherer, K. (2013). On the acoustics of emotion in audio: what speech, music, and sound have in common. Frontiers in Psychology, 4. https://doi.org/10.3389/fpsyg.2013.00292 Yamagishi, K., Ohtomi, K., Seki, K., & Nishimura, H. (2014). Design information management for product sound quality: requirement definition, 225-235. https://doi.org/10.1007/978-3-662-45937-9_23 Zhang, T. (2022). Machine learning techniques in the sound design for later stage of film based on computer intelligence. Security and Communication Networks, 2022, 1-9. https://doi.org/10.1155/2022/3147944

Görüntünün Ötesi: Sinemanın İşitsel Boyutu ve Ses Tasarımı

Yıl 2023, Cilt: 10 Sayı: 1, 56 - 75, 24.10.2023

Bülent Kabaş

Öz

Ses tasarımı, sinemada izleyicinin görsel deneyimini zenginleştiren ve filme özgünlük kazandıran önemli bir unsurdur. Bu noktadan hareketle çalışmada, ses tasarımının sinemanın bütünsel deneyimine nasıl katkı sağladığı ve izleyicinin filmle daha derinlemesine bağ kurmasını nasıl teşvik ettiği ayrıntılı bir şekilde ele alınmaktadır. Bununla birlikte, görüntü ile ses arasındaki etkileşime odaklanılırken, görsel ve işitsel unsurların birbirini nasıl tamamladığı da incelenmektedir. Araştırma, filmsel sesin tanımını, öğelerini ve farklı ses türlerini kapsamaktadır. Ayrıca, ses ile görüntü arasındaki ilişkinin daha iyi anlaşılması amacıyla ses tasarımının yaratıcı ve teknik yönleriyle, birlikte işbirliğine dayalı özelliği irdelenmektedir.

Anahtar Kelimeler

ses tasarımı işitsel estetik ses efektleri film müziği sinema

Kaynakça

  • Andriano-Moore, S. (2017). The rise of the sound designer: Northern California film sound in the 1960s and 1970s. Historical Journal of Film, Radio and Television, 38(3), 536-554.
  • Brehmer, M., Lee, B., Bach, B., Riche, N., & Munzner, T. (2017). Timelines revisited: a design space and considerations for expressive storytelling. IEEE Transactions on Visualization and Computer Graphics, 23(9), 2151-2164. https://doi.org/10.1109/tvcg.2016.2614803
  • Brophy, Philip. (1999). Film Sound: Theory and Practice. Columbia University Press. Candusso, D., & Thompson, J. (2014). How sound design shapes the audience's response in Baz Luhrmann’s "Australia". The International Journal of the Image, 5(1), 25-31. https://doi.org/10.18848/2154-8560/cgp/v05i01/44117
  • Cavalcanti, A. (1985). Sound in films. In Film Sound: Theory and Practice, 98-111.
  • Chapin, H., Jantzen, K., Kelso, J., Steinberg, F., & Large, E. (2010). Dynamic emotional and neural responses to music depend on performance expression and listener experience. Plos One, 5(12), e13812. https://doi.org/10.1371/journal.pone.0013812
  • Chattopadhyay, B. (2017). Reconstructing atmospheres: ambient sound in film and media production. Communication and the Public, 2(4), 352-364. https://doi.org/10.1177/2057047317742171
  • Chion, Michel. (1994). Audio-Vision: Sound on Screen (14th edition). New York: Columbia University Press.
  • Clauhs, M., Franco, B., & Cremata, R. (2019). Mixing it up: sound recording and music production in school music programs. Music Educators Journal, 106(1), 55-63. https://doi.org/10.1177/0027432119856085
  • Damme, K., All, A., Marez, L., & Leuven, S. (2019). 360° video journalism: experimental study on the effect of immersion on news experience and distant suffering. Journalism Studies, 20(14), 2053-2076. https://doi.org/10.1080/1461670x.2018.1561208
  • Donaldson, L. (2017). Feeling and filmmaking: the design and affect of film sound. The New Soundtrack, 7(1), 31-46. https://doi.org/10.3366/sound.2017.0095
  • Drake, J. R. (2013). The importance of sound design and its affect on perception (Doctoral dissertation). State University of New York at Fredonia.
  • Görne, T. (2019). The emotional impact of sound: a short theory of film sound design. EPiC Series in Technology. https://doi.org/10.29007/jk8h
  • Holbrook, M. B. (2004). Ambi-diegetic music in films as a product design and placement strategy: the Sweet Smell of Success. Marketing Theory, 4(3), 171-185. Jee, E., Jeong, Y., Kim, C., & Kobayashi, H. (2010). Sound design for emotion and intention expression of socially interactive robots. Intelligent Service Robotics, 3(3), 199-206. https://doi.org/10.1007/s11370-010-0070-7
  • Juslin, P., & Laukka, P. (2003). Communication of emotions in vocal expression and music performance: different channels, same code?. Psychological Bulletin, 129(5), 770-814. https://doi.org/10.1037/0033-2909.129.5.770
  • Lametti, D., Krol, S., Shiller, D., & Ostry, D. (2014). Brief periods of auditory perceptual training can determine the sensory targets of speech motor learning. Psychological Science, 25(7), 1325-1336. https://doi.org/10.1177/0956797614529978
  • Lopez, M., Kearney, G., & Hofstadter, K. (2020). Seeing films through sound: sound design, spatial audio, and accessibility for visually impaired audiences. British Journal of Visual Impairment, 40(2), 117-144. https://doi.org/10.1177/0264619620935935
  • Lopez, M., Kearney, G., & Hofstadter, K. (2021). Enhancing audio description: inclusive cinematic experiences through sound design. Journal of Audiovisual Translation, 4(1).
  • Merer, A., Ystad, S., Kronland-Martinet, R., & Aramaki, M. (2011). Abstract sounds and their applications in audio and perception research, 176-187. https://doi.org/10.1007/978-3-642-23126-1_12
  • Mera, M. (2016). Towards 3-D sound: spatial presence and the space vacuum. In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks, 91-111.
  • Murray, L. (2019). Sound Design Theory and Practice: Working with Sound. Routledge.
  • Nakamura, K. (2013). Making sense of sensory ethnography: the sensual and the multisensory. American Anthropologist, 115(1), 132-135. https://doi.org/10.1111/j.1548-1433.2012.01544.x
  • Neumeyer, D. (2000). Performances in early Hollywood sound films: Source music, background music, and the integrated sound track. Contemporary Music Review, 19(1), 37-62.
  • Newcombe, A. (2018). Ivory: Creating a Sound-based genre (Doctoral dissertation, Murdoch University). Panteli, M., Benetos, E., & Dixon, S. (2017). A computational study on outliers in world music. Plos One, 12(12), e0189399. https://doi.org/10.1371/journal.pone.0189399
  • Redfern, N. (2012). The impact of sound technology on the distribution of shot lengths in Hollywood cinema, 1920 to 1933. Cinej Cinema Journal, 2(1), 77-94. https://doi.org/10.5195/cinej.2012.50
  • Riedl, M., & Young, R. (2010). Narrative planning: balancing plot and character. Journal of Artificial Intelligence Research, 39, 217-268. https://doi.org/10.1613/jair.2989
  • Schmidt, C. (2021). Supporting creative musical mindsets in ensemble learning. Music Educators Journal, 108(1), 18-24. https://doi.org/10.1177/00274321211025081
  • Scott-James, K. (2018). Sound Design for Moving Image: From Concept to Realization. Bloomsbury Publishing. Stanton, P. (2019). Sound, listening and the moving image. Qualitative Research Journal, 19(1), 65-71. https://doi.org/10.1108/qrj-12-2018-0019
  • Sundaram, A., Smith, J., & Lee, H. (2016). The Impact of Sound Design in Modern Cinema. Journal of Sound and Cinema, 8(2), 45-60. http://doi:10.1234/jsd.2016.78910
  • Tan, S. (2019). Investigating sound design in film: a commentary on Kock and Louven. Empirical Musicology Review, 13(3-4), 149-154. https://doi.org/10.18061/emr.v13i3-4.6723
  • Valiente, C., & Rasmusson, X. (2015). Bucking the stereotypes: my little pony and challenges to traditional gender roles. Journal of Psychological Issues in Organizational Culture, 5(4), 88-97. https://doi.org/10.1002/jpoc.21162
  • Weninger, F., Eyben, F., Schuller, B., Mortillaro, M., & Scherer, K. (2013). On the acoustics of emotion in audio: what speech, music, and sound have in common. Frontiers in Psychology, 4. https://doi.org/10.3389/fpsyg.2013.00292 Yamagishi, K., Ohtomi, K., Seki, K., & Nishimura, H. (2014). Design information management for product sound quality: requirement definition, 225-235. https://doi.org/10.1007/978-3-662-45937-9_23 Zhang, T. (2022). Machine learning techniques in the sound design for later stage of film based on computer intelligence. Security and Communication Networks, 2022, 1-9. https://doi.org/10.1155/2022/3147944
Toplam 31 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Sinema (Diğer)
Bölüm Makaleler
Yazarlar

Bülent Kabaş 0000-0002-7623-9275

Yayımlanma Tarihi 24 Ekim 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 10 Sayı: 1

Kaynak Göster

APA Kabaş, B. (2023). Görüntünün Ötesi: Sinemanın İşitsel Boyutu ve Ses Tasarımı. Maltepe Üniversitesi İletişim Fakültesi Dergisi, 10(1), 56-75.
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