A grammar of the film : an analysis of film technique (1950)

Page scan 000185 from A grammar of the film : an analysis of film technique

Record Details:

Title:
A grammar of the film : an analysis of film technique
Date:
1950
Publisher:
Berkeley : University of California Press
Volume:
A grammar of the film : an analysis of film technique
Leaf #:
000185
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
August 22, 2024
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Classification of Sounds be due to the enhancement of rhythm by simultaneous repetition. We have now surveyed every class and sub-class of differentiating factors, as defined above. Minuter division is no doubt possible, but it is better that the framework shall be capable of receiving later additions, than that it should be prematurely filled out at the start. 27. Sight is therefore set aside for the time, and attention turned to sound. It may perhaps appear antiquated to distinguish sounds into speech, natural sound and music.1 This classification has long been abandoned by acousticians, who rightly observe that some natural sounds are universally considered music ( e.g . the song of nightingales) $ some are considered so by certain people {e.g. the hum of dynamos by the mechanically minded) ; while some music is considered to be a natural sound {e.g. some modern music by the uninitiated). These confusions may be presented in a rather more systematic manner. In the first place, the familiar scales of forms are present. Speech shades gradually from its function of supplying meaning towards noise (when the speech is unintelligible and harsh) and music (when it is harmonious) $ similarly, sounds grade towards music, and music, when it appears haphazard and jarring, towards sound. Secondly, agreement may 1Pp. 48-50 above. 173