Sound Technology and the American Cinema: Perception, Representation, Modernity

By James Lastra; John Belton | Go to book overview

INDEX
(Page numbers referring to illustrations appear in italics.)
Academy of Motion Picture Arts and Sciences (AMPAS), 170, 207–208
acoustics, 133–34
Adorno, Theodor W.: autography, 30; original /copy relation, 128–32; perception, 129, 130–32, 134; “Radio Symphony,” 128–32; sound technology and music, 129, 130–32, 134
Alexander Nevsky (1938), 121
Alpers, Svetlana, 55
Altman, Rick: intelligibility, 189; original/copy relationship, 125–27, 132, 150; realism, 145; silent film sound, 99, 108
American Society of Cinematographers (ASC), 170, 174
Anderson, H. W., 206
apparatus theory: ideology, 11–14, 61–63, 136, 159; technological determinism, 11. See also Baudry, Jean-Louis; Comolli, Jean-Louis
Applause (1929), 260n48
“Astor Tramp, The,” 103, 112
audition: Adorno on, 129, 130–32, 134; and narration, 138–43, 166–67, 177–78, 181–87, 195–98, 213–14
Aumont, Jacques, 54
Austin, John L., 150
autography: and decline of human agency, 50–53, 74; and representational causality, 22–24, 29–31, 42–44, 50–53, 57, 73–75
automata: and mimetic experiments, 31–32, 39–41; representational technologies as, 7, 18–20
Bachelard, Gaston, 62
Balàzs, Béla, 124
Baudry, Jean-Louis
Bazin, André, 140
Bell, Alexander Graham: autography, 28–31; and Kempelen, 31–32; simulation, 31–38; universal language, 7, 28–31
Benjamin, Walter, 1, 6–7, 14, 20
Bertillon, Alphonse, 2

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