Consent Form

This is the consent form filled out by each experiment participant before they took part in the experiment.  It highlights all the stipulations needed by the ethics society when conducting experiments within Abertay, and especially, the birthdate to make sure everyone is at least 18 years of age to take part.

Screen Shot 2016-04-19 at 22.30.13

References Draft 1

A list of my reference from my first draft of dissertation.

References:

[1] Boys Life Magazine, (2014). What Was the First Movie Ever Made?. [online] Headsup.boyslife.org. Available at: http://headsup.boyslife.org/what-was-the-first-movie-ever-made/ [Accessed 16 Apr. 2016].

2 BBC Education, (1999). BBC Education – Local Heroes Le Prince Biography. [online] Web.archive.org. Available at: https://web.archive.org/web/19991128020048/http://www.bbc.co.uk/education/local_heroes/biogs/biogleprince.shtml [Accessed 16 Apr. 2016].

3 Silent Era, (2009). Silent Era : Progressive Silent Film List. [online] Silentera.com. Available at: http://www.silentera.com/PSFL/data/D/DonJuan1926.html [Accessed 16 Apr. 2016].

4 Bradley, E. (2005). The first Hollywood sound shorts, 1926-1931. Jefferson, N.C.: McFarland.

5 The Jazz Singer. (1927). [film] United States: Alan Crosland, Warner Brothers Pictures, Darryl F. Zanuck.

6 Norman, J. (2012). The First Full-Length Film with Synchronized Dialogue (October 1927) : HistoryofInformation.com. [online] History Of Information. Available at: http://www.historyofinformation.com/expanded.php?id=3522 [Accessed 17 Apr. 2016].

7 Firstenberg, J. (2005). AFI’s 100 Years…100 Movie Quotes. [online] Afi.com. Available at: http://www.afi.com/100Years/quotes.aspx [Accessed 16 Apr. 2016].

8 Singer, P. (n.d.). The Art of Foley – Jack Foley. [online] Marblehead. Available at: http://www.marblehead.net/foley/jack.html [Accessed 16 Apr. 2016].

9 Showboat. (1929). [film] United States: Harry A. Pollard, Universal Studios, Carl Laemmle.

10 Reiner, Y. (2005). Jack Foley: Feet to the Stars. [online] NPR.org. Available at: http://www.npr.org/templates/story/story.php?storyId=3207126 [Accessed 16 Apr. 2016].

11 Ament, V. (2009). The Foley grail. Amsterdam: Focal Press/Elsevier, p.76.

12 Fischoff, S. (2005). The Evolution of Music in Film and its Psychological Impact on Audiences. Ph.D. California State University.

13 Metcalfe, N. (2013). Sound Design for Visual Media & Radio. Sound on Sound.

14 Ament, V. (2009). The Foley grail. Amsterdam: Focal Press/Elsevier, p.10.

15 Metcalfe, N. (2014). Sound Design For Visual Media. Sound on Sound. [online] Available at: http://www.soundonsound.com/sos/aug14/articles/designer-sounds-0814.htm [Accessed 16 Apr. 2016].

16 Weis, E. and Belton, J. (1985). Film sound. New York: Columbia University Press.

17 Cavalcanti, A. (1910). Sound in Films. Film Sound: Theory and Practice.

18 Cavalcanti, A. (1910). Sound in Films. Film Sound: Theory and Practice, p.109.

19 Chion, M., Gorbman, C. and Murch, W. (1994). Audio-vision. New York: Columbia University Press.

20 Chion, M., Gorbman, C. and Murch, W. (1994). Audio-vision. New York: Columbia University Press, p.Foreward.

21 Chion, M., Gorbman, C. and Murch, W. (1994). Audio-vision. New York: Columbia University Press, p.21.

22 Chion, M., Gorbman, C. and Murch, W. (1994). Audio-vision. New York: Columbia University Press, p.127.

23 Sonnenschien, D. (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City, California: Michael Weise Productions.

24 Sonnenschien, D. (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City, California: Michael Weise Productions, p.27-28.

25 Grove, E. (2014). The 13 Steps Of Post-Production – Raindance. [online] Raindance. Available at: http://www.raindance.org/the-13-steps-of-post-production/ [Accessed 16 Apr. 2016].

26 Alten, S. (1986). Audio in media. Belmont, Calif.: Wadsworth Pub. Co.

27 Roberts, M. (2015). Music makes you feel better. [online] Psychologies. Available at: https://www.psychologies.co.uk/music-makes-you-feel-better [Accessed 16 Apr. 2016].

28 Hollis, B. (1999). Pre-Renaissance Music: The Evolution of Instruments and Theory. [online] The Method Behind The Music. Available at: http://method-behind-the-music.com/history/history/ [Accessed 16 Apr. 2016].

29 Schulkin, J. and Raglan, G. (2014). The evolution of music and human social capability. Front. Neurosci., 8.

30 Larsen, P. and Irons, J. (2007). Film music. London: Reaktion.

31 Metropolis. (1927). [film] Germany: Fritz Lang, Universum Film AG, Erich Pommer.

32 The Graduate. (1967). [film] Los Angeles, Calfifornia: Mike Nichols, AVCO Embassy Pictures, Lawrence Turman.

33 Viers, R. (2008). The sound effects bible. Studio City, CA: Michael Wiese Productions.

34 Yewdall, D. (2012). Practical art of motion picture sound. Waltham, MA: Focal Press.

35 Yewdall, D. (2012). Practical art of motion picture sound. Waltham, MA: Focal Press, p.22.

36 IMDb, (n.d.). The Taking of Flight 847: The Uli Derickson Story. [online] International Movie Database. Available at: http://www.imdb.com/title/tt0096216/awards?ref_=tt_awd [Accessed 16 Apr. 2016].

37 Ament, V. (2009). The Foley grail. Amsterdam: Focal Press/Elsevier.

38 Ament, V. (2009). The Foley grail. Amsterdam: Focal Press/Elsevier, p.69.

39 Judd, F. (2013). Electronic Music and Musique Concrète. London: Foruli Classics.

40 Winston Reynolds, F. (1959). Amateur Tape Recording Magazine.

41 Roggendorf, B. and Belhes, G. (2001). Ableton Live. Berlin: Ableton.

42 Henshall, M. (2011). Musique Concrète – Pioneering Electronic Music – Part1. [online] Sound Matters. Available at: http://www.soundmattersblog.com/musiqueconcrete1/ [Accessed 16 Apr. 2016].

43 Schell, C. (1992). The Value of the Case Study as a Research Strategy. Undergraduate. Manchester Business School, p.14.

44  Brock, F. (2010). The Importance of Practice | Use it or Lose it. [online] Prolific Living. Available at: http://www.prolificliving.com/the-importance-of-practice-use-it-or-lose-it/ [Accessed 16 Apr. 2016].

45 Bachchan, A. (2015). What is Test Screening and should I do it?. [Blog] Indee Blog. Available at: http://blog.indee.tv/2015/07/test-screening-and-why-should-i-do-it/ [Accessed 16 Apr. 2016].

46 Jones, C. (2000). Guerilla Film Makers Handbook. London: Continuum, p.359.

47 Thompson, E. (2014). Why Bosses and Employees Shouldn’t Be Friends. [online] The Huffington Post Canada. Available at: http://www.huffingtonpost.ca/evan-thompson/office-friendship_b_5835576.html [Accessed 17 Apr. 2016].

48 The Lord of the Rings: The Return of the King. (2003). [film] New Zealand: Peter Jackson, Wingnut Films, Barrie M. Osborne.

49 Shore, H. (2003). The End of All Things. [CD] Burbank, California: Reprise.

Case Study – Anomalisa

On Thursday I went to Dundee’s DCA to watch a stop motion film called Anomalisa, written and directed by surreal film legend Charlie Kaufman.  The film is about a man who gives speeches about Customer Service, Michael, dealing with his life through the monotony  he faces daily.  Michael has an issue in his life that every other person in his life has the same face, and same voice.  He has lost his ability to see people uniqueness and individual discrepancies that make them an individual.  This is not entirely clear until he arrives at his hotel in Ohio and calls his wife.  As his wife is finished speaking to him in a man’s voice, she passes the phone to Michael’s son who has the exact same voice.  The fact that his wife already had a man’s voice was unusual, and once we heard that the son had the same voice, it makes it clear that something is not quite right in Michael’s head.  Thankfully Tom Noonan has a pleasant voice, as it is heard constantly throughout the film, more helpful though is that his voice has a very distinct tone.  This makes it obvious the reason that Kaufman has created this world of uniformity.  Among all of this, at one point Michael hears another voice walking past his hotel room door, a woman’s voice (Jennifer Jason Leigh).  This is something that through the story we learn hasn’t been experienced my Michael in 11 years, so he follows the voice.  Michael finds Lisa, who he invites for a drink and then back to his hotel room.  Michael is drawn to Lisa because of her voice and different face to the rest of the world, and desires to run away with her for her uniqueness.  After the first night with Lisa Michael gives his speech in the hotel.  This is when it becomes clear the extremity of Michael’s mind, we see Lisa’s face clear in an army of clones in the audience.  This is when it all becomes clear as Michael has a breakdown on stage and begins getting heckled by many people, all identical to each other in face and voice.  Lisa manages to overlook this and then they go to Michaels room to eat lunch together.  Over lunch, Michael finds several things about Lisa annoying including the way she talks within her vocabulary and mannerisms and the way she eats.  Once Michael realises these things, Lisa’s voice begins slowly slipping into the voice that we hear for everyone else.  He also catches her face in a strong sunlight and it begins to merge into the one we saw for everyone else as well.

Overall this was not the most intricate display of sound within film, but I found it very interesting to carry a movies entire plot point just from the perspective of dialogue and voice acting.  It is something that I am not aware that I have seen before, and recommend anyone to watch it.