On January 8 Jeremy Butler said:
>I'd be interested to see what you've found, Allan. My own thinking on
>TV sound was first shaped by:
>Stephen Heath and Gillian Skirrow, "Television: A World in Action,"
> SCREEN 18, no. 2 (Summer 1977): 7-59.
In addition to the other articles you mentioned, I would like to add the
following pieces. Though they are not all strictly television/video they
contributed to my own understanding of how sound functions on both the
practical and theoretical planes. The excellent anthology: FILM
SOUND:THEORY AND PRACTICE edited by Elisabeth Weis and John Belton contains
many useful essays. One in particular was THE VOICE IN THE CINEMA by Mary
Ann Doane. Bela Belazs' THE THEORY OF FILM SOUND contains many still
pertinent observations. Marsha Kinder's essay MUSIC VIDEO AND THE SPECTATOR
and the more recent ROCKING AROUND THE CLOCK: MUSIC TELEVISION,
POSTMODERNISM AND CONSUMER CULTURE by E. Ann Kaplan contextualize the use
of sound within a genre of the televisual apparatus. Finally, and this
brings me closer to your original example is a chapter SOUNDBITE NEWS:
TELEVISION COVERAGE OF THE ELECTIONS, 1968-88 from Daniel C. Hallin's book
WE KEEP AMERICA ON TOP OF THE WORLD.
Perhaps this is a simple-minded observation on my part, but I'll say it any
way: in considering the television 'text' we overlook the formidable role
played by sound/s in shaping the narrative. Furthermore, sound,
particularly on televison, is often the primary contextualizing factor for
images that in themselves have no 'apparent' relationship to one another.
That's all for now...
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