S Soundings:: Documentary film and the listening experience

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Introduction
Stories from a stay at the Arena Hotel
Weave Me a Rainbow
The march, the march of colour and pattern : Music and cinematography at the service of the creative promotion of the 1960s Scottish woollen industry
Sonicules: Designing drugs with sound: approaches to 69 sound design for flm, audiovisual performance and interactive sonifcation
Auralising Action Space: channelling a sense of play in 85 documentary sound design
The flm looks like how Ornette sounds : Shirley Clarke s music documentary Ornette: Made in America Rosa Nogues
Progress Music
Creative use of voice in non-fction narrative flm: an examination of the work of Peter Mettler
Documentary flm as a backdrop for active thinking
Centrepiece: The unwanted sound of everything we think we want
The Appassionata Sonata in A Diary for Timothy
A Symphony of Britain at War or the Rhythm of Workaday Britain ?: When the Pie Was Opened (1941) and the musicalisation of warfare
Building a sonic image of a nation: Finnish documentary and propaganda flms in the early decades of sound flm
Raul Ruiz s Now We re Gonna Call You Brother and the 255 problem of the people s sonic representation
Afterword.

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This book draws on the lived experience of sounds capacity to move and shake us in direct, subtle and profound ways through speech, location sound, and music in documentary film. The associative, connotative and sheer emotive power of sound has the capacity to move and shake us in a myriad of direct, subtle and often profound ways. The implications of this for its role as speech, location sound, and music in documentary film are far-reaching. The writers in this book draw on the lived experience of sounds resounding capacity as primary motivation for exploring these implications, united by the overarching theme of how listening is connected with acts of making sense both on its own terms and in conjunction with viewing. The resulting thirteen essays of Soundings: Documentary Film and the Listening Experience cover films made from WWII to the present day in locations across Europe and the Americas, and in styles ranging from political propaganda, industrial promotion and educative exposition, to more aesthetically-driven films taking their bearings from avant-garde art. The authors draw on their experience in scholarly research, practice-as-research, and in the aesthetic and technical practice of documentary filmmaking. This mix of perspectives aims to widen and deepen the outlook of the recent and growing academic interest in the topic of documentary film sound.

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