Search Results for sound studies

... representation. The involuted structure and the temporal paradox that result allow the text to mark proleptically the death of its own author. Drawing on sound studies, medical humanities, and text-immanent critique, this article traces the unequal access to the sound of the author’s breath by author, narrator...

...; the elements of its content we call the ‘what’ elements” (RP, 45).19 The how elements refer to those aspects of radio that are invariant and indif- ferent to the content being broadcast. Typically the concern of sound engineers and manufacturers, these elements have not been the central object of study...

... in the personal stories of their study objects). Initially, Singh’s sound file became one document among many to be classified, labeled, placed in Doegen’s “Museum of Voices,” and more or less forgotten. But as long as a document exists, it retains the potential to speak when commanded and reveal narratives...

...  Software Physiognomics consistencies of dynamic levels. Synthesized instruments, sound-file compres- sion, and other forms of digital processing are linked to these stylistic features. The study also noted the standardized character of music’s chord progressions and harmonies. Although...

... of study—the criminal, the mad, the abnormal—which were excluded on grounds of biological racism. My research suggests that political revolutionaries 68. Dickinson, “Biopolitics, Fascism, Democracy.” 69. Baldwin, Contagion and the State, 163–68. 70. Hull, Absolute Destruction. 224  Sound...

... that of the suffering outsider and linked to the psychologically therapeutic. Furthermore, based on an analysis of films that used Mahler's music from the 1960s on, Sacks demonstrates how the Mahler of popular imagination has often been a sound track to pathological torment and stages self-sacrificial transcendence...

...Fatima Naqvi Abstract The Austrian director Nikolaus Geyrhalter’s films consistently thematize linear perspective as a mode of thought. His documentaries use one-point perspective to draw attention to a scientific habitus, with its studied neutrality and foregrounded objectivity. His “partitive...

... as the periodization of film history. [email protected] Copyright © 2022 by New German Critique, Inc. 2022 Guy Maddin Bergfilm mountain film transnational German studies national identity This article is about a film that belongs to Canadian rather than German culture...

... (All about Love: A Cross-Section Film, 1929), assembled by Kalbus, which showcased various love scenes from German films; Von der Wundertrommel bis zum Werbetonfilm: Ein Querschnitt durch zwanzig Jahre Pinschewerfilm (From the Zoetrope to Sound Advertising Film: A Cross- Section through...

... Eric Rentschler, “Remembering Not to Forget: A Retrospective Reading of Kluge’s Brutality in Stone,” New German Critique, no. 49 (1990): 23–41. 23. Mamangakis, who studied composition in Munich with Carl Orff and Harald Genzmer in the late 1950s and early 1960s, not only composed the sound...

... understanding of “spiritual experience [ geistige Erfahrung ]” as a more than merely theoretical matrix for what Adorno, in Negative Dialectics and the lecture courses, calls his materials studies. Rather than indicating largely esoteric or theosophical elements in Kandinsky’s influence on modernist aesthetic...

... of geographic jealousy that I asked Miriam about the place of Russians like Kuleshov or Dziga Vertov in her global picture of vernacular modernism. Her answer touched my heart, for it sounded almost apologetic. Yuri, she said, you know how I love Eisen- stein and Vertov. However, your Russians were true...

...Volker Pantenburg Abstract This article examines the work of Max Linz and Julian Radlmaier, two German directors born in the mid-1980s. It traces their academic and practical training in film studies and film directing and highlights their aesthetic and political approach as an attempt to counter...

...’ actual understanding of German film culture is perhaps betrayed by the decennial Sight and Sound top ten list in 1962, which identifies Patalas as an East German critic. See “Top/Ten,” Sight and Sound 31, no. 1 (1961–62): 13. 77. David Stewart Hull, Film in the Third Reich: A Study...

... cinema as breaking down into discrete periods, periods delineated not least politically. As Tim Bergfelder notes, the study of German film has tended to “condense” and “reduce” German film history to “three emblematic moments”—expressionism, the Third Reich, and New German Cinema.2 Of course...

..., with the aid of insights presented at the 2018 Cornell conference and reworked for publication in either New German Critique in the United States or the Alexander Kluge-Jahrbuch in Germany, yields novel perspectives at the crossroads of Kluge studies and critical theory. This bifurcated publishing strategy...

... conventions and developments. The latter may be so radical that the most totalizing discourse of globalization comes “ironically” to be sustained by a mode of music production that is now totally broken up—reduced to disconnected medleys or sound bites, as they come to be called in the 1980s...

... described the Heimatfilm as a site In asking how this translative reversal is again tied to the sound of Hamit’s translation, I first briefly discuss a seemingly separate but theoretically relevant act of sound production in the novel. During his musical studies in Munich, Hamit works...

.... The article proceeds to examine the supposed new threat to critics: algorithmic recommender systems for video-on-demand platforms such as Netflix. Based on the author’s mixed-method empirical audience study, it concludes that the need and desire for human cultural mediators has not decreased despite...

... be contrasted with the more “timely” and “objective” anti-Romanticism of the Neue Sachlichkeit movement associated with such musicians as Paul Hindemith and Otto Klemperer and, most celebratedly, with the score-bound literalism of Arturo Toscanini. Adorno, having studied composition with Alban Berg...