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Occult AestheticsSynchronization in Sound Film$
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K.J. Donnelly

Print publication date: 2014

Print ISBN-13: 9780199773497

Published to Oxford Scholarship Online: April 2014

DOI: 10.1093/acprof:oso/9780199773497.001.0001

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‘Pre’ and ‘Post’ Sound

‘Pre’ and ‘Post’ Sound

Chapter:
(p.154) Chapter 7 ‘Pre’ and ‘Post’ Sound
Source:
Occult Aesthetics
Author(s):

K. J. Donnelly

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199773497.003.0007

Most film sound is post-synchronized in one way or another, joined together in a studio rather than shot and recorded as a single event. On occasion, films can shoot to music that defines the staging and assemblage of a sequence (as in film musicals), and sometimes film can be cut to music added in post-production. This chapter considers pre- and post-production sound, addressing the various conventional forms and degrees of synchronization in circulation. This includes lip-synching (where screen actions are matched to preexisting sound and music) and dubbed dialogue (replacing an original voice with another). While preexisting sound matched by images tends to be highly integrated, as sound dominates and image movements are motivated by sonic activity, this chapter argues that it can contain a grain of the uncanny as a space exhibiting the persistence of silent film techniques within sound film.

Keywords:   Lip-synch, post-synchronization, dubbing, post-production, song sequence, silent film

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